2002 Mallett Gallery by Mallett

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MALLET T Established 1865

MALLETT Gallery

141 New Bond Street, London W I S 2BS Telephone: +44 (0)20 7499 7411 Fax: +44 (0)20 7495 3179

Mallett Gallery

Mallett at Bourdon House Ltd

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J a m e s Harv ey Director

Email: antiques@mallett.co.uk

R e b e c c a Steels

Website: w-vv-w.mallettantiques.com

Mallett & Son (Antiques) Ltd 141 N e w Bond Street London \V1S2BS T e l e p h o n e : + 4 4 (0) 20 7499 7411 Fax: + 4 4 (0) 20 7495 3 1 7 9

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CONTENTS BROGUE, ALFRED CHINA TRADE RMN'L'INGS (pair) D'ARLES, JE.'VN-HENRY (pair) DANDRIDGE, BARFHOEOMEW DEVIS, ARTHUR GILL, EDWARD WARD GREEN, WILLIAM GRIFEIER,JAN FORBES, STANHOPE HARTNELL, NAL HANIEL HERRING, J O H N FREDERICK S.\R HERRING, J O H N FREDERICK.J.NR HOME, ROBERF JOHNSON, CORNELIUS MATTEINT, TEODORO MONTAGUE, ARTHUR MORPHEY, GARRETT RI'IL ER, CASPAR ROBERTSON, 1 HOMAS SARTORIUS, FRANCIS SARTORIUS, J O H N NOST SARTORIUS, J O H N NOST SHEE, SIR MARFIN ARCHER STOC:KLIN, CHRIS'FIAN TOMKINS, PEL'FRO WILLIAM IVoin cover:JAN (iRIl'l IICR Detail: .1 rabbit warren (Pases 50-53). IVoinispiccc: B A R T H O L O M K W D A X D R I l X i i : Detail: one of the daughters of Scroop E^erkm (Pai>e.s 24-27). Ixft: PKLl R O W I I J . I A M l O M K I X S Detail: .1 courtier eseortin/i (ieorge III (Pages 30-35). Inside covers: AKI ER I RA.XCIS HARI.OW Detail: From various Hirds and Beasts Drawn from lAfe. late Britain.

Lady in an interior Chinese ladies and gentlemen Classical seascapes Portrait of the daughters of Scroop Egerton Philip Howard of Corby Castle Boy leading his bay pony .-I white pointer rabbit warren The white hor.se The Picnic Portrait of a bay hunter The Steeplechase Colonel Sydenham and his wife Amelia Portrait of Baroness Bromley Portrait of Baron Tupinier in Venice Interior of an artist's studio Portrait of Lt. General Aleredyth Portrait of a lady The SS South Australian Two pointers The Great Match Sofia Portrait of a Midshipman Capriccio with architectural ruins George III

80-81 44-49 40-43 24-27 8-13 56-57 54-55 50-53 82-83 72-77 66-67 68-71 20-23 18-19 28-29 78-79 14-15 84-85 86-87 60 58-61 62-63 16-17 36-39 30-35

INTRODUCTION

In the twelve months sincc our last catalogue the Gallerv' has continued to expand both in the levels of stock and in our exposure to clients. We have developed our primary areas of interest in paintings from the eighteenth and nineteenth centuries, with a keen eye on decorati\ e as well as highly important artists. We hope that our selection will include subjects and artists that appeal to all tastes. It is diflicult in this catalogue to single out any indi\ idual painting in terms of importance or rarity. Howe\er, there are two paintings that are particularly noteworthv; Firstly from the eighteenth centur\- the J a n Griffier, illustrated on the front cover, combines a level of technical skill that is clearly demonstrated in the painting of both the rabbits and the landscape. T h e wonderful sense of humour in the subject matter makes this a refreshing work from a period that is often rather formal. From the nineteenth century the painting by Arthur Montague, illustrated on page 78-79, is interesting in that it is not only decorative but also serves as a demonstration of how the fashions and styles of art mo\cments travel across continents.

Many of our existing clients were able to share our excitement of seeing our highly important pair of J M W Turner oil ]jaintings Going to the Ball (San Martino) and Returning from the Ball (St. Martha) when we showed them for the first time in New York in May. The paintings were received with great acclaim by museum curators, eminent collectors and art critics. For any of our clients who missed this o])])ortunity wc will be exhibiting the paintings for a second time at T h e Palm Beach International Art and Anticiuc Fair from 31st January-lOth February 2002. We hope you will have the opportunity to visit us in the galleries on Bond Street, and at Mallett at Bourdon House to see our extensive and varied collection of pictures, alongside the furniture and other works of art. T h e majority of our stock is now on our website: www.mallettantic|ues.com. We \ e r y much look forward to welcoming you and having the pleasure of showing you around.

J a m e s Harvey Director

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ARTHUR DEVIS \ y

(1712-1787) •

ARTHUR DEVIS (1712-1787)

Philip Howard of Corby Castle, Cumberland Oil o n canvas Signed a n d dated 1759 lower left U n f r a m e d : 27V, x 36 in / 70.5 x 91.5 cm Framed: 34'/, x 43 in / 87 x 109.2 cm HROVK N A N C E : By family descent from the sitter;

Philip H o w a r d was educated at the College

his use of small lay figures, whilst his

Mrs. H o w a r d , C o r b y Castle, C u m b e r l a n d ;

of the Benedictines at D o u a i a n d wrote the

observation of ]50sture a n d property make

Lady Lawson, d a u g h t e r of the abo\ e, 1941;

Scriptural History of the Earth and Mankind in

his work a remarkable record of mid-

J o h n H o w a r d , Esq.

1797. H e was interested in agricultural

eighteenth centur\- genteel life.

impro\'ement, introducing clo\er and LrrKR.vrURK:

artificial grasses into C u m b e r l a n d , and

Devis exhibited at the Free Society of Artists

Sydney H. Paviere, The Devis Farnilj of

being the first to feed cattle on h o m e g r o w n

between 1761-1780 a n d b e c a m e its

Painters, 1950, p. 46, No. 70;

turnips. As Devis' painting suggests, he also

President in 1 768.

( i o r d o n Nares, C o r b y Castle, C u m b e r l a n d -

inherited his father's love of gardens, having

11, Country Life, 14th J a n u a r y 1954, p. 95

been consulted by Dr. Robert G r a h a m

illus, pi. 15;

in laying out the landscape gardens

Ellen G T)'Ocnch,

at Netherby.

Arthur Devis

1712-1787,

Master of the Georgian Conversation Piece, Yale University; P H D degree, 1979, p. 351,

T h e painting represents the xiew southwards

no. 84;

from the terrace of C o r b y Castle. Philip sits

Ellen G D ' O e n c h , The Conversation Piece:

at the edge of the formal garden beside the

Arthur Devis and his Contemporaries, 1980, p. 21

house. Beyond him is the River Eden, with

a n d p. 84, no. 85, illus. Fig. 14.

its woods to the left, a n d the f a m o u s narrow island in the centre, said to have been constructed some six centuries prior to the

Philip H o w a r d (1739-1810) inherited C o r b y

landscaping of the gardens, for salmon

Casde f r o m his father in 1740, b e c o m i n g

fishing by the monks of Wetheral Priory^

the fifth H o w a r d to take C o r b y as his home.

Above the bank to the right can be seen the

T h e castle, overlooking the river Eden in

old Priory gatehouse, the only [jart to have

C u m b e r l a n d , was first acquired by Philip's

survi\ed the dis.solution.

great-great Grandfather, the illustrious Lord \\'illiam H o w a r d (1563-1640), nicknamed

A r t h u r Devis was a leading exponent of the

'Belted Will' by Scott. William had, through

'Conversation Piece', an informal group

a rather strategic marriage to f^lizabeth

15ortrait of family or friends usually depicted

Dacre, acquired significant estates in the

in private surroundings. H e also specialised

N o r t h , including Naworth a n d Henderskelfe

in small-scale pcjrtraits of single figures.

(the latter being the site where Castle H o w a r d now stands), a n d later Corby. The

He was b o r n in Preston a n d , from the late

building itself would see alteration with each

1 730's onwards, was working both in

successive generation, but it was not until

London a n d at h o m e in his native

the time of Philip's father, Thomas H o w a r d

Lancashire. H e was patronized mainly by

(1677-1740), who inherited the house in

middle-class clients who favoured small-scale

1 708, that the gardens would be landscaped

portraiture. His neat style a n d the almost

into tlie Arcadian form dejiicted in the p;iintitig.

doll like physiognomy of his figures indicate

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THE HOWARD FAMILY OF CORBY CASTLE I.ORI) WILMAM •Hi:i;i Kl) \VII,L' H()\VAI<I)

ELIZABETH I)AC:RE

SIR FRANCIS HOW ARD OI CORBY CAS TLE (l.i!!»-ir>(iO

PlIIEII' HOW ARD

TRAXCIS HOW ARD OF CORBY CAS TLE

ANN HOWARD

MAR'*' KnVXLEY

.\IAR^ \\IDDI\(;T().\

WILLIAM HOWARD

JANE — DALSTOX

FRAXCIS HOWARD

BARBARA MIS(;R.\\E

THOMAS HOW ARD OF C:()Rin- C:AS TLE

PHILIP HOWARD OF CORBY CASTLE (1730-1810)

HEXR^' HOW ARD OF C()RB^• CAS TLE

MARIA ARCHER

GARRETT MORPHEY (Dublin nVfa 1650-1715/6)

Three-quarter length portrait of Lt. General Thomas Meredyth, with cavalry action beyond Oil on canvas U n f r a m e d : 50 x 40 in / 127 x 101.8 cm Framed: 57'/2 x 47V, in / 145.5 x 121 cm PROVENANCE;

By desccnt from the sitter to his son, A r t h u r

for the a r m y a n d received a commission

regiment he founded was later called the

Francis Meredyth of" Dollardstown, C o u n t \ '

as C a p t a i n into the Duke of Leinster's

37th Regiment of Foot (founded in 1751).

Meath;

Regiment of Horse in April 1691. D u r i n g

His daughter and heir M a r y Meredyth. She

the 1690's he served with distinction in

O n costume a n d stylistic grounds the

married in 1775 Sir R i c h a r d Gorges Bart

Flanders, returning to his native Ireland

]3ortrait is datable to the first decade of the

(1735-1821) w h o assumed the s u r n a m e

a r o u n d the e n d of the decade. H e was then

eighteenth century, a n d thus c o n t e m p o r a r y

Meredyth;

appointed Brevet Colonel a n d A d j u t a n t -

with the sitter's stay in Ireland from before

Their daughter, M a r \ - A n n e , who m a r r i e d

General of the C r o w n forces in Ireland

1701 until 1703, during which period he

Sir Marcus Somerv ille of Somerv ille,

J u n e 1701). Shortly afterwards he raised

raised the 37th Regiment of Foot.

C o u n t y M e a t h (4th Bart, 1775 -1831);

his own regiment of Foot, being appointed

T h e i r son Sir William Meredyth Somerville

full Colonel of his regiment on 13th

(1802-1873) w h o was created Baron

February 1702.

Athlumney & Baron Somer\ille of Dollardstown;

H e saw m u c h ser\ ice in the W a r of the

His son (by his second marriage to M a r i a

Spanish Succession a n d c o m m a n d e d his

Jones, 1831-1899) J a m e s Herbert Oustavus

regiment at the battle of Blenheim, where

Meredyth Somer\ille, 2nd Lord y\thlumney

he was shown especial favour by the Duke

a n d Somerville (b. 1865);

of Marlborough. H e was present at the siege

T h e n c e bv direct descent to the last owner.

of D e n d e r m o n d e (of which town he was appointed G o \ e r n o r after its capitulation in S e p t e m b e r 1706). H e was w o u n d e d at the

Ciarrett M o r p h e y was the first Irish portrait

siege of O u d e n a a r d e in 1 708 a n d p r o m o t e d

painter of international standing a n d

M a j o r G e n e r a l on 5th J a n u a r y 1707 a n d

practised his art in Ireland, England a n d the

Lieutenant General I st J a n u a r y 1709.

C^ontinent. His work shows an awareness of the work of Kneller a n d of Xetscher, an

A friend a n d favourite of the Duke of

internationalism which is inconceivable a

M a r l b o r o u g h , who held his military ])rowess

generadon earlier in Ireland. H e is a

in high regard, he was p r o m o t e d to the

distinguished draughtstnan a n d has a fine

c o m m a n d of the 21st Fusiliers (1st M a y

eye for characterisation; his paintings are

1710) but .soon u n d e r m i n e d after his return

technically very sound.

to iMigland when the op])osition parts-

reported that he a n d Generals M a c a r t n e y Thomas Meredyth was descended from the

a n d Honeywood had toasted the health of

Rt. Rev. Meredyth, Bishop of Ferns and

Marlborough a n d m a d e disparaging

Leighlin, of a family of Welsh origin w h o

c o m m e n t s about the new administration.

settled in Ireland about the turn of the

H e was promptly cashiered, despite his long

sixteenth century. The family held lands at

a n d sterling s e n ice, a n d m a d e to sell his

Dollardstown in C o u n t y M e a t h where they

commission a n d his regiment to a soldier

( i arret I M o r p h r y , Portrait of (ieneml Will tarn Whiseley,

built a substantial house. H e was destined

more convi\ial to the (Jovernment. 'The

sii^K'd and dated 1692, Private Clollection. Ireland.

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SIR MARTIN ARCHER SHEE, PR.\ (1769-1850)

Head and shoulders portrait of a Midshipman, traditionally ident^ed as the Duke of Bordeaux, holding a naval sword Oil on canvas Unframed: 30 x 25 in / 76.5 x 63.5 cm Framed: 38 x 33 in / 97 x 84 cm

Sir Martin Archer Siiee was born in Dublin in 1769, of a prosperous family of Irish merchants. H e was entered into the Dublin Society Schools for liis training as an artist from the age of twelve, under the direction of Francis Robert West. His progress was astonishingly rapid and from an early age he won most of the jjrizes and medals for which he entered. In his teens he started his own studio (in D a m e Street, Dublin) as a portrait painter, a role which he continued unabated for the next sixty years. Encouraged by Gilbert Stuart, the distinguished American portrait painter who was then visiting Dublin, in I 788 he departed for London, still only eighteen years old. His initial experience was the opposite of that in Dublin and he struggled to achieve any recognition, accepting a j o b as a copyist for the engravers Macklin and Boydell, though in the following year his first two portraits were accepted by the Royal Academy He was introduced to Sir Joshua Reynolds, then the G r a n d Old M a n of British art through his compatriot Edmund Burke. Reynolds advice was for him to take further instruction at the Royal Academy In 1790 he moved into the studio then vacated by Sir T h o m a s Lawrence. Within a year his career as a society portrait [jainter began to burgeon and b\' 1 798 he was elected AR/\. Shee, a man of culti\'atcd mind and amiable manners, enjoyed the friendship atid esteem

of the prominent men of his day. He was something of a man of letters, contributing to periodicals and books on art criticism and literature, writing no\els and plays and was a member of the leading artistic clubs. Shee enjoyed an illustrious patronage, but was ever in the shadow of Sir T h o m a s Lawrence, President of the Ro\al Academy, who was the Lion of the English art establishment in the first quarter of the nineteenth century. O n the latter's death, though, he emerged from his shadow and was promptly elected President of the Royal Academy in 1830, a post he held for 30 years until ill-health prompted his retirement in 1845, five years before his death in 1850. Stylistically, Shee owes much to the style of Sir T h o m a s Lawrence, whose smooth technique and vibrant palette are closely allied. Likewise the confident and direct draughtsmanship and free brushwork worked up in a 'wet-n-wet' technique. At his best he is scarcely to be distinguished from Lawrence, especially after 1815 and he remains easily the most accomplished Irish portrait painter of his age. The painting, which has been in a continental collection for many years, has traditionally been identified as a portrait of the young Duke of Bordeaux by Sir Thomas Lawrence, who was travelling in Europe in 1818-20 painting many of the crowned heads of I'^urope. Howe\er, comparison of

the pre.sent portrait with, for instance, the similarK -sized Captain Samuel Hood Linzee (Greenwich, National Maritime Museum, n u m b e r BHC2842) shows conclusively that this is in fact a portrait by Shee rather than Lawrence. T h e idcnuty of the sitter remains doubtful, though the traditional identification has a long history.

CORNELIUS JOHNSON (1593-1661)

Full length portrait of Mary, Baroness Bromley of Gerard's Bromley co. Stafford Oil o n C a n v a s Painted circa 1633 U n f r a m c d : 8 3 x 53 in / 211 x 134.6 c m F r a m e d : 93 x 64 in / 236 x 163 c m In a spectacular seventeenth centurya u r i c u l a r f r a m e carved with grotesque heads PROVEXANCK: By descent to A n t h o n y 13th Earl of W e s t m o r l a n d , (his sale, Christie's 1892, lot

of the B e d c h a m b e r to K i n g Charles II in

p o r t r a y a l of his usual patrons: the gentry

105, 52 guineas);

exile 1648-9. T h e latter's son Digby was

a n d nobility below the level of the courtiers.

M a j o r Peter Gribble, Christie's 2()th J u n e

a 'great swearer, d r u n k a r d a n d very

His style is easily identified by its coolness

1975, lot 4 3 (450 guineas);

d e b a u c h e d ' w h o fell d o w n d e a d after a

a n d restraint, a n d he has left us a substantial

W h e n sold in 1975, the p a i n t i n g was still

drinking m a t c h in the Rose T a v e r n , C o \ e n t

c o r p u s of signed a n d d a t e d work which

with the c o m p a n i o n portrait of h e r

G a r d e n aged twenty tv\o; he h a d already

enables us readily to chart his d e v e l o p m e n t

husband.

b e e n in the C o u n t y Prison aged fifteen

as an ardst.

for ' r u n n i n g t h r o u g h an a p p r e n t i c e ' with his sword.

M u c h of his work is to be f o u n d in family

T h e sitter was the fourth d a u g h t e r of

collections f r o m the c o u n t y of K e n t , w h e r e

Francis Fane*, 1 st Earl of W e s t m o r l a n d

*Mr Francis Fane, a man of great hope and

he was living in the early 1630's. T h e

( 1 5 7 9 / 8 0 - 1 6 2 9 ) a n d his wife Mary; d a u g h t e r

forwardness, very well affected in the country

present p a i n t i n g a n d its c o m p a n i o n were

a n d heiress of Sir A n t h o n y a n d L a d y G r a c e

already. ..hispossibilitie

formerly at M e r e w o r t h Castle, K e n t .

of living by his wife very

M i l d m a y of A p e t h o r p e . She m a r r i e d , after

much, shee being daughtere and co-heire to Sir

15th M a y 1625, B u t t o n G e r a r d , 3rd Baron

Anthony Mildmay; and thought her mother will

in Herefordshire, w h e r e there is a n o t h e r

G e r a r d of Bromley (1613-1640). She was

give hir all hir inheritance aLsoe; thefather worth

quite substantial c o r p u s of his work. At the

b o r n in 1606 a n d was baptised o n August

^'3000

3rd of that year at M e r e w o r t h in Kent, n e a r

(Manningham's diary 11 January

per annum, the mother's

ÂŁ1200. 1601/2).

h e r father's estate at Badsell, K e n t . H e r

J o h n s o n also seems to have spent s o m e time

a p p r o a c h of the Civil W a r he o b t a i n e d a passport to go to Holland, the c o u n t r y of his p a r e n t s (he himself was baptised in 1593 at

g r a n d m o t h e r kept a diary; which f o r m e d

C o r n e l i u s J o h n s o n is the most satisfying

the Autobiography which has b e e n published

a n d 'English' of t h e portrait painters

his work is r a t h e r r a r e r a n d declines into a

a n d is a m o n g s t the earliest female

working in E n g l a n d in the 1620's a n d 30's

m o r e typically D u t c h B a r o q u e style of

the D u t c h C h u r c h in London). T h e r e a f t e r ,

a u t o b i o g r a p h i e s in English literature. H e r

a n d is certainly the best portrait p a i n t e r

composition. His t e c h n i q u e t h o u g h r e m a i n s

great-uncle H u m f r e y (her g r a n d f a t h e r

of the generation before Van Dyck. His

refined t h r o u g h o u t his careen H e died in

A n t h o n y ' s brother) also kept a n i m p o r t a n t

t e c h n i q u e is .splendid a n d it is a tribute to

A m s t e r d a m in 1664.

diary, which is a m a j o r source on early

the soundness of it that so m a n y of his

seventeenth c e n t u r y theatre-going. H e r

paintings survive in good condition. His

g r e a t - g r a n d f a t h e r Sir Walter M i l d m a y

style is restrained a n d introspectixe, a n d

was the f o u n d e r of E m m a n u e l College,

he gives lo\ ing attention to the details of

Cambridge.

the costume.

She was buried at h e r m o t h e r ' s house at

Fhe large m a j o r i t y of his ]5aintings a r e of

. ' \ p e t h o r p e in N o r t h a m p t o n s h i r e after h e r

h e a d a n d shoulders size, t h o u g h he

demise in 1634, shortly after the birth of a

occasionally jjainted, as here, on a scale of

son a n d heir C^harles, 4th Baron ( i e r a r d

life. His a d m i r a b l y a c c u r a t e portraits never

(1634-1667). T h e latter b e c a m e ( i e n t l e n i a n

flatter, a n d are sober a n d objective in their

— . . .

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ROBERT HOME (1752-1834)

Portrait of Colonel William Sydenham (1753-1801) with his wife Amelia Signed a n d d a t e d 1794 Oil on canvas U n f r a m e d : 28 x 30 in / 72 x 77.5 c m F r a m e d : 36 x 42 in / 92 x 107 c m L H ERAI URK:

M i l d r e d Arciier, India and British Portraiture 1770-1825, 1979, pp. 306-307, plate 212

T h i s 'Conversation Piece', p a i n t e d in 1794,

The S y d e n h a m ' s two sons also s e r \ e d in

p o r t r a i t u r e a n d he p a i n t e d se\'eral local

shows Colonel W'illiam S y d e n h a m s t a n d i n g

India, B e n j a m i n as Secretary to t h e

residents in M a d r a s , including Colonel

next to his seated wife in M a d r a s . C^olonel

G o v e r n o r G e n e r a l , the Marc|uess Wellesley,

S y d e n h a m , before m o \ ing to C a l c u t t a

S y d e n h a m c o m m a n d e d the I st Battalion

b r o t h e r to the f u t u r e D u k e of Wellington,

in 1795.

M a d r a s Artiller\', units of which are

a n d G e o r g e as A m b a s s a d o r to the C o u r t of

p a r a d i n g on t h e left of the picture (see

the N i z a m of H y d e r a b a d . B e n j a m i n also

After H o m e m o v e d to C a l c u t t a , he p a i n t e d

previous page), with the beehive s h a p e of

served in the M a d r a s Lngineers f r o m 1 794

portraits of \ arious governor generals a n d

St T h o m a s ' M o u n t beyond. T h e Colonel

to 1808. J o h n Russell was commissioned to

military c o m m a n d e r s , including Lord

ser\ ed in the M a d r a s Artiller\' f r o m 1 768

p a i n t portraits of both sons.

Wellesley a n d L o r d M i n t o . H e also h a d

until 1801 w h e n he passed away. H e was the

i m p o r t a n t Indian clients, a n d in 1811

son of S a m u e l S y d e n h a m of M i n e h e a d a n d

R o b e r t H o m e was b o r n in L o n d o n in 1752.

m o v e d to L u c k n o w to b e c o m e C o u r t

m a r r i e d Amelia P r i m e whose uncle also

H e was a student of Angelica K a u l f m a n n

Painter to the K i n g of O u d h .

served in the Artillery in India.

a n d studied in R o m e b e t w e e n 1773 a n d

M a j o r S y d e n h a m was p r o m o t e d to

that travelled to India in the late eighteenth

1778. H o m e was o n e of m a n y British artists L i e u t e n a n t Colonel in J u l y 1786, a p p o i n t e d

c e n t u r y eager to obtain p a t r o n a g e f r o m the

to the c o m m a n d of the 1 st Battalion a n d

p r o s p e r o u s British residents a n d f r o m Indian

m a d e c o m m a n d a n t of artillery with a seat

noble families. H o w e v e r while m a n y left

at the Military' Board. T h e artillerv' was

d i s e n c h a n t e d , H o m e stayed in India for over

divided into two divisions, the 1 st Battalion

forty years, longer t h a n any o t h e r British

was based at St T h o m a s ' M o u n t , the 2 n d at

artist of the period.

rrichinopoly c o m m a n d e d by a L i e u t e n a n t Colonel Taimer, w h o o]Dposed the

H o m e arrived in M a d r a s early in J a n u a r y

a p p o i n t m e n t of S y d e n h a m as c o m m a n d e r

1791 a n d soon after, he received permission

of the 1st Battalion, claiming he should have

to accomj^any Lord Cornwallis' a r m y on

the position o n die g r o u n d s that he was

its m a r c h to Bangalore, witnessing T i p u

m o r e senior. However, this was dismissed, as

Sultan's s u r r e n d e r at S e r i n g a p a t a m . H o m e

S y d e n h a m was p r o m o t e d d u e to the d e a t h

p a i n t e d a large ])icture of this celebrated

of the ])revious c o m m a n d e r of his l)attalion.

event (National . \ r m y M u s e i n n , L o n d o n )

In J a n u a r y 1796 S y d e n h a m was m a d e a

a n d also a |K)rtrait of Lord C Cornwallis

C^olonel, the same year Robert H o m e

(formerly in t h e Banc|ueting Hall, Madras).

p a i n t e d this, |)rol)ably as a personal

H e worked with T h o m a s a n d William

c o m m e m o r a t i o n of the event for S y d e n h a m .

Daniell w h o visited M a d r a s in M a r c h 1792

In M a y of the s a m e year he was t n a d e

a n d ]3ainted se\eral large landscapes.

Robert Honic. Recfpliuri of the Mysore /*rinces by Jxtrd

a (ieneral.

Howex'er his chief interest was in

Cormvallis 1791. National Aniiy . \ l u s f u m . Ijiiidoii.

BARTHOLOMEW DANDRIDGE /

Jr.

1691-1755

.•^.fsifiii-

BARIHOLOMEW DANDRIDGE (1691-1755)

Portrait of the daughters of Scroop Egerton, 5th Earl and 1st Duke of Bridgwater,

1681-1745

Signed lower left, a n d extensively inscribed on a n i n e t e e n t h c e n t u r y label o n the reverse Oil o n canvas U n f r a m e d : 4 5 x 5 4 in / 114 x 136 c m F r a m e d : 5OV2 x 61 in / 128 x 155 cm In a good early G e o r g i a n c a r \ c d a n d giltwood f r a m e Painted circa 1 7 3 4 / 5

PROVENANCE

By descent f r o m the 1st D u k e of Bridgwater

composition a n d freshness of palette which

to his elder d a u g h t e r Lady Louisa (later

divides t h e m absolutely f r o m the stvie of

Viscountess T r e n t h a m ) , tlie elder of the

the 1 72()'s. T h e present painting, which is

two sitters;

signed a n d dates f r o m \'cry close to 1 735,

H e r h u s b a n d , the ultimate Bridgwater

is a \ e r y early essay in this n e w English

legatee, G e o r g e Granville, 1 st D u k e of

R o c o c o style, a n d shows the rapid

Sutherland;

d e v e l o p m e n t which the artist b r o u g h t a b o u t

T h e n c e by descent to G e o r g e , 3rd D u k e of

in these years: the following year (1736-7)

S u t h e r l a n d at T r e n t h a m Hall, Staflbrdshire,

he p a i n t e d the d a u g h t e r s of the Earl of

f r o m whose wife A n n e a c q u i r e d by h e r

G a i n s b o r o u g h in w h a t by then was a fully

coiTipanion a n d n e i g h b o u r ;

developed French style which looks m o r e

Edith M a r i a W h i s t o n (formerly Hughes, n t e

towards W a t t e a u t h a n it does towards

Tideswell) of S a n d o n Lodge, Stallordshire,

Kneller. 'This picture, which is, as it were,

by w h o m l i e q u e a t h e d to h e r son

o n the cusp, still has relatively faint echoes

(29.12.1888; codicil 4.6.1890);

of the earlier style.

J o s e p h Tideswell J a c k s o n H u g h e s ; Thence bv descent.

T h e girls depicted are Ladv' Louisa Egerton (born 30th April I 723) w h o m a r r i e d Viscount 'Trentham in 1778 a n d Lady

B a r t h o l o m e w Danclridge was ba]jtised in

D i a n a E g e r t o n (born 3rd M a r c h 1731) w h o

L o n d o n on 17th Deccmlx-r 1691. His initial

m a r r i e d Lord Baltimore in 1 753. T h e y were

training was at the St M a r t i n ' s L a n e

the d a u g h t e r s of S c r o o p Egerton, 5th I'^arl

A c a d e m y a n d with Sir ( i o d f r e y Kneller,

a n d 1st D u k e of Bridgwater (1681-1745) by

whose studio a n d practice he took over in

his 2nd wife R a c h e l , d a u g h t e r of the 2nd

1 731 after tlie hitter's death. A l t h o u g h lie

D u k e of Bedford, w h o m he m a r r i e d on 4th

was trained in the relatively dull style of the

August 1722. Lady Louisa was an ancestor

.school of Kneller, he was a m o n g s t the first

of the pre.sent D u k e of S u t h e r l a n d .

in L n g l a n d to respond to the innovations of the rococo whicii were being im]jorted into I'^ngland f r o m I'Vance in the early a n d mid 1730's. These have a liveliness of

TEODORO MATTEINI (1754-1831)

Portrait of Baron Tupinier in Venice Signed and dated 1807 bottom right Oil on canvas Unframed: 19 x 14 in / 49 x 37 cm Framed: 25 x 20 in / 63.5 x 52 cm

Teodoro Matteini was an Italian Neo-classical painter. He ran a painting school in Venice and his pupils included Francesco Hayez (1791-1882), one of Italy's greatest exponents of historical Romantic painting, also known for his portraits - skills he probably learned from Matteini. The career of Baron Tupinier (1779-1850) is rare for the period in that it extends from the revolution to the second Empire. Born in 1 779 at the age of fifteen he joined the 'ecole polytechnique' and was soon part of the corps of maritime engineers. He had a dazzling career that took him to the highest echelons of naval power. For twenty years he held the post of Director of the Ports and Arsenals and he was an outstanding under minister of the Navy. Whilst a young engineer he went on campaign to St Domingue and served with the fleet in Boulogne, from there he was posted to Italy where until the end of the Empire he was in c o m m a n d of the Arsenal in Venice. He was a naval minister in 1830 and again in 1839. He was a state counsellor and honorary inspector general of the Naval Engineers. These various roles put him in freciuent contact with many of the great names of the age: Admirals such as ()anteaume, Decres, Bruix, Duperre, Rosamel, Rigny, and ministers with whom he worked closely Portal, Clermont-Tonnere, d'Argout, and he worked particularly closely with King LouisPhilippe. Tupinier led the life of a naval insider between 1800 and 1848. He wrote a book of memoirs that have given a unique insight into the naval and political world

of F'rance in the first half of the nineteenth century. T h e date of the painting is 1807 and it celebrates two moments. Firstly at the tender age of twenty eight he was given the onerous responsibility of the .\rsenal in Venice a post he successfully filled until Napoleon's fall in 1815. Secondly Napoleon himself came to Venice in 1807 and the city put on a three day festival including naval performances and a special aquatic themed ball at the famous opera house La Fenice (now destroyed by arson). Napoleon's main purpose was to review the possibilities of developing Venice as his primary Mediterranean naval base and Tupinier was on call for the entire visit. T h e memoirs record that though Napoleon was enchanted by both the entertainments and the beauty of the local women he did not divert from his military purpose. Tupinier's role was thereby confirmed and his reputation enhanced so on the Emperor's departure he had this very charming portrait painted.

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PELTRO WILLIAM TOMKINS (1759-1840)

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PELTRO WILLIAM TOMKINS (1759-1840)

A view of Windsor Castle with King George III on a grey hack doffing his hat to Queen Charlotte and the Princess Royal in an open coach, with the Princesses Augusta Sophia and Elizabeth in the carriage behind Circa 1785-1790 Oil on canvas Unframed: 28 x 36 in / 71 x 9 1 . 5 c m Framed: 39'/2 x SO'A in / 100.4 x 77 c m In its original car\'ed and gilded frame

This delightful and wholly unexpected,

T h i s painting stands apart in its informal

informal 'Conversation Portrait' of the

nature, an aspect perhaps best explained by

in 1801, the K i n g b e c a m e p e r m a n e n t l y

Hanoverian royal family relaxing outside

the level of familiarity b e t w e e n artist and

d e r a n g e d in 1810. Mentally unfit to rule

Windsor Castle has very few analogies in

sitters. T h e K i n g is easily identifiable in

during the last d e c a d e o f his reign, his eldest

eighteenth century English court painting.

Garter Star a n d Sash, t h o u g h here rather

son (later G e o r g e IV) acted as Prince Regent

For the most part, royal portraits by their

m o r e as 'Farmer G e o r g e ' (as h e was

from 1811. S o m e historians suggest G e o r g e

very nature are formal and grand. W h e r e

affectionately known) than traditional

Ill's mental instability was the result o f

occasionally they were depicted in less

monarch. Proceeding around Windsor o n

a hereditary physical disorder

formal circumstances, they tend to be

what is obviously a favourite hack rather

called porphyria.

painted by the more grandiose painters such

than s o m e splendid blood-horse, the K i n g

After falling seriously ill in 1788-9 a n d again

as J o h n Zoffany, J o h n Singleton C o p l e y a n d

uncharacteristically raises his hat in a

Benjamin West, which are also painted o n a

gesture o f affection to the group in the

III preferred Windsor to H a m p t o n Court,

large scale suitable for a palace.

carriages, w h o m w e can assume to b e

and initiated a p r o g r a m m e to renovate the

his family.

casde in the Gothic style in 1789, after

Although unsigned, this painting is most

Unlike his H a n o v e r i a n predecessors, G e o r g e

recovering from his first serious bout of

likely to be the work of the L o n d o n - b o r n

G e o r g e III was a g o o d family m a n , d e v o t e d

illness. T h e project was continued by his

artist and engraver, Peltro William Tomkins

to his wife, Charlotte o f Mecklenburg-

son G e o r g e IV, (with the advice o f Sir J o h n

(1759-1840). Born into a family of painters,

Strelitz, with w h o m he had fifteen children.

Long), a n d o n c e completed, the castle

Tomkins had something o f a royal pedigree,

T h i s painting offers a rare a n d touching

remained greatly u n c h a n g e d until the fire

having been e n g a g e d as drawing master to

insight into this m o r e personal side o f the

of 1992. With this in mind, w e c a n thus

the daughters of George III, and in 1791

King's character, depicting an idyllic courtly

date the work as pre-renovation a n d

being appointed Historical Engraver to

existence. T h e reality was however, w h e n

therefore pre-1789.

Q u e e n Charlotte. While Tonikins trained as

w e consider the date o f the painting, far

a stipple engraver (under Francesco

less pleasant. T h e A m e r i c a n declaration of

A s s u m i n g that the occupants of the carriage

Bartolozzi at the Royal A c a d e m y Schools),

i n d e p e n d e n c e on 4th July 1776, and the

are the Royal family, a n d that the view o f

the depiction o f such scenes would have

resulting surrender by British forces in 1782

the castle is pre-renovation, we c a n therefore

been a familiar practice. His father, W^illiam

c a n certainly be considered to have marred

attempt to identify the female sitters with

Tomkins (1732-1792) was a successful

George's R e g e n c y politically, a n d even

s o m e confidence. T h e Q u e e n , Charlotte

landscape painter, known for his views o f

personally. T h e strain o f these events took

Sophia o f Mecklenburg-Strelitz (1 744-

country houses, w h o exhibited frequently at

its toll o n the m o n a r c h , w h o s e health

1818), sits next to her eldest daughter, w h o

the Royal Academy, to which he was elected

gradually deteriorated during the 1780's.

appears to be around twenty o n e years o f

Associate in 1771.

age. Charlotte Augiista Matilda, the Princess Royal, was born 29th September 1 766; assuming she is twenty years old in the painting, then a date of circa 1 786 suggests itself, '["his would be consistent with the apparent ages of her two younger sisters (seen in the further of the two carriages), Augusta Sophia (1768-1840) and I^lizabeth (1770-1840), who would thus be eighteen and sixteen. This dating is consistent with the costumes worn by the sitters. 'I'he jDroposed dating of I 785-90 therefore seems secure.

THE HANOVERIANS

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NLC.RORIA

OEHER C:H1E1)REX MARY SOPHIA OCIAMLS AEERED AMEEIA

CHRISTIAN STOCKLIN (1741-1795)

Capriccio with architectural ruins and a distant view over a lake Oil on canvas U n f r a m c d : 26V4 x 6 3 % in / 6 8 x 162 c m F r a m e d : 35-% x I T / i in / 91 x 184 c m

Christian Stocklin was b o r n in G e n e v a w h e r e he received his initial training. In the 1750's lie went to Bologna to work witli the architect, p a i n t e r a n d theatrical designer A n t o n i o Galli Bibiena (1700-1774). Stocklin was an itinerant artist; by 1 759 he was in R o m e a n d f r o m 1761-1764 he c o n t r i b u t e d to the architectural decoration of theatres in Stuttgart a n d Ludwigsburg, d u r i n g which time this picture was painted. In 1766 the artist b e c a m e a citizen of Frankfurt.

As well as p a i n t i n g classical landscapes with ruins, Stocklin also p a i n t e d architectural interiors mostly of churches, in the m a n n e r of the Flemish artists H e n d r i c k van Steenwijck the Elder (circa 1550-1603) a n d Pieter Ncefs the Elder ( 1 5 7 8 - 1 6 5 6 / 1 6 6 1 ) .

JEAN-HENRY D'ARLES (1734-1784)

A pair of Italian classical seascapes Signed a n d d a t e d 1 768

T h i s p a i r of Italianate seaport scenes follows

shipwrecks, all scenes which, for the

O n e on rowing boat, o t h e r lower left

in the tradition of classical landscapes

m a j o r i t y town-dwellers, would be

Oil o n canvas

estal)lished by C l a u d e L o r r a i n . D'Arles

u n c o m m o n to their own lives. In addition,

U n f r a m e d : 21 x 30'/, in / 53.2 x 76.8 cm

would also have been influenced by Jose])h

Italian scenes were p o p u l a r with aristocratic

F r a m e d : 2TU

Vernct (1714-1 789) vvhf)se

x 36V, in / 27.9 x 93.3 c m

Tempesl he

would

have seen at tiie Exhibition d u Pasage

clientele as they sei-ved to reflect the sites they would h a \ e visited o n the CJrand Tour.

PVancais in I 756. J e a n - H e n r y d'Arlcs was a French landsca|)e

T h e artist paints an i m a g i n a r y seaport in an

p a i n t e r whose theatrically illiiminated

D'Arles p r e d o m i n a t e l y worked in tiie a r e a

ancient ])lace with c o n t e m p o r a r y figures a n d

landscapes display a close observation of"

in a n d a r o u n d Marseille. The French

ships, all lit by a soft w a r m sunrise a n d

n a t u r e a n d its effects. D W r l e s won first prize

c o n t e m p o r a r y taste was for idealised scenes

sunset. The t h e m e of safe arrival in port is

of the A c a d e m y of Painting a n d Sculpture

foreign to their own exjierience. T h e r e was a

o n e of u n i w r s a l appeal. D'Arles ]5aints a

in Marseille in 1753.

d e m a n d for e n c h a n t e d \ iews of bays such as

D u t c h shi]) in the early m o r n i n g that m a y

Najjies, m o u n t a i n s , caves, storms.

have been inspired by the presence of

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JEAN-HENRY D'ARLES (1734-1784) continued

A pair of Italian classical seascapes

D u t c h s q u a d r o n s w h o are known to ha\'e been in the M e d i t e r r a n e a n after the treaty of Aken in O c t o b e r 1748. T h e o t h e r p a i n t i n g at sunset shows a British na\ al vessel. r i i e r e is a careful b a l a n c e of the composition with its f r a m i n g trees a n d hills, united architecture a n d landscape, misty distance a n d h a r m o n i o u s light, all placing D'Arles within the great tradition of Franco-Italian l a n d s c a p e painting.

A FINE PAIR OF CHINA TRADE R\INTINGS A pair of nineteenth century China trade paintings of exceptional quality.

A FINE PAIR OF CHINA TRADE PAINTINGS A pair of nineteenth century China trade paintings of exceptional quality.

Chinese, 1803 or 1863 Oil on canvas U n f r a m e d : 26V4 x SO'A in / 68 x 77.5cm Framed: 35'A x 39 in / 89.5 x 99 cm In m o d e r n car\ ed giltwood frames of eighteenth century design

T h e first painting depicts two blue robed

m e m b e r s of that family or certain close

Chinese gentlemen playing a board g a m e

associates have been included. Given that

at a table on a tree fringed veranda. An

the male figures a p p e a r all to be somewhat

attendant stands by the table and another

younger than seventy' five years old, the

figure is seated to the left with a hookah. A

depiction may be an idealised reference

path bordered by flowering shrubs leads to a

to earlier achievements.

small pa\-ilion. In the background to the left there is a pool with a wall beyond, enclosing

Such m e m e n t o pictures, although

a house.

commissioned for personal reasons, were nonetheless painted by the same artists

T h e second p a i n d n g (see page 45) depicts

working in the European export fashion.

four elegant Chinese ladies on the timbered

The paintings are not signed but clearly they

walk\vays and terraces of a water garden.

are the work of a highly accomplished artist

Flowers and plants surround the terraces

of the time.

and one of the ladies is tending the potted plants. T h e r e is a pavilion to either side

Some of the great images of the C h i n a

a n d a further pavilion stands in the water

Trade paintings of the eighteenth a n d

beyond. In the distance is a high wall with a

nineteenth centuries are encapsulated in

circular opening leading to further gardens.

the port scenes of C a n t o n and H o n g Kong.

T h e reverse of each original canvas is

prolifically produced scenes also lent their

inscribed in Chinese calligraphy. T h e

talented hands a n d their rich palettes to

canvases are now relined.

landscape, garden a n d figurative subjects.

However, some of the artists of these

Not all of this calligraphy can be deciphered

There was a fascination in the Wx-st about

but what is ascertained is that the.se pictures

the Chinese way of life, various facets

were jjainted in H o n g Kong Central in early

of which were regularly depicted in

M a r c h , in either 1803 or 1863, and that one

watercolour and in oil, such as tea drinking,

is a portrait of a M r Fung Kwong, deceased,

card and games playing and garden parlies.

aged 75 years.

Domestic interiors showing Chinese furniture, accessories and other artefacts

T h e r e was a tradition in C^hina for portraits

were painted with meticulous detail.

to be painted |X)sthumously of CHiincsc elders, dignitaries or other persons of note

Fcjually, exotic gardens are depicted in rich

as a tribute to them and a memorial for

colours with a profusion of flowering plants

their families. Here, [presumably, other

and trees amidst pavilions and terraces.

)

pools a n d bridges. These g a r d e n scenes also give an insight into the Clhinese tradition for planting m a n y of the small trees a n d shrubs in pots r a t h e r t h a n in the earth. All the llowers a n d plants are p a i n t e d with great accuracy. While, generally, the c|uality of such paintings b e g a n to w a n e towards the middle of the n i n e t e e n t h century, o n e artist in particular stands out at this time. Y o u q u a was p r o b a b l y the finest p a i n t e r of the m i d n i n e t e e n t h c e n t u r y of large scale C h i n a T r a d e pictures. H e is known to have worked in b o t h H o n g K o n g a n d C a n t o n a n d was acclaimed for his port scenes, as well as portraits of ladies based on E u r o p e a n prints. A great rarity by h i m is a still life of fruits, now in the Peabody M u s e u m at Salem, which displays b o t h his versatility a n d an u n d e r s t a n d i n g of the western market.

A g a r d e n scene with elegant C h i n e s e ladies, circa 1845, b e a r i n g the label of ^ b u q u a , is at Mystic Seaport, Mystic, C o n n e c t i c u t . T h e t r e a t m e n t a n d style of this p a i n t i n g is similar to this pair of paintings. From the calligraphy thus far d e c i p h e r e d , this pair was p a i n t e d in either 1803 or 1863. T h e i r quality points to the earlier date, unless it is the work of a p a i n t e r of the skill of Y o u q u a at the later date.

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JAN GRIFFIER (1646-1718)

A rabbit warren Oil on canvas F r a m e d : 49 x 51'/-i in / 124.5 x 146 cm U n f r a m e d : 4 0 % x 49 in / 103 x 124.5 c m

J a n GrifTicr was b o r n in A m s t e r d a m yet his c a r e e r was split Ix'tween H o l l a n d a n d E^ngland, where he first arrived soon after the G r e a t Fire in 1666. hi H o l l a n d , (iriffier was a p p r e n t i c e d to a carpenter, a tile p a i n t e r a n d a flower ]Daititer before studying with the landscapist a n d etcher R o e l a n d R o g h n i a n [circa 1620-86) as well as (according to Walpole) informally with A d r i a e n van de Velde (1636-72) a n d J a c o b \ an Ruisdael (1628-82).

â&#x20AC;˘After settling in L o n d o n , GrifTier took lessons f r o m the landscape p a i n t e r J a n Looten (1618-81), a n o t h e r Fnglish-based D u t c h m a n , whose tonality he imitates t h r o u g h o u t his career. Griffier was a d m i t t e d to the C o m p a n y of Painter-Stainers in L o n d o n in 1677 a n d c o n t r i b u t e d a iMtidscape with Ruins to their hall. (iriffier's work as a d r a u g h t s m a n reflects his training by R o g h m a n . H e was a c o m p e t e n t etcher a n d mezzotinter a n d p r o d u c e d an iinpressive series of plates of birds after Francis Barlow, as well as a n u m b e r of good mezzotint ]K)rtraits after such L o n d o n ])ortrait j^ainters as Peter Lely a n d (Jodfrey Kneller. In 1695 he r e t u r n e d to H o l l a n d , a p p a r e n t h - travelling in his own yacht, which was wrecked ofT the D u t c h coast thereby causing the loss of m u c h of his stock of drawings.

For the next decade Griflier remained in Holland, but returned to London in 1705 where he became part of the bustling Netherlandish emigre art scene, and his style changed to what might best be described as a proto-English landscape technique, a precursor of the pure-English style of such painters as William lomkins and Thomas Smith. T h e last decade of GrilFier's life was devoted to topographical landscape painting along the T h a m e s Valley, including Greenw ich, Windsor, Oxford, and Gloucestershire.

(The Duke of Northumberland, Syon House) arc capriccios, combining real \icvvs of the houses with fantastic cragg)' land.scapes. Griffier's later years also saw a widening of his subject matter that include exotic bird pieces in the manner of his fellow emigre painter Pieter Casteels such as Turkey and other fowl (Tate Britain) as well as imaginary landscapes and occasional marine views. His son Robert Griffier (1688-ÂŤ>fa 1750) and grandson J a n GrifTier II (0. 1738-73) continued in the family landscape tradition.

His English views prov ide valuable early evidence of British topography and Walpole noted that 'mixed scenes of rivers and rich country were his fa\orite subjects'. Paintings such as his |)rospects of Hamplon C.ourt Palace, 1710 (Tate Britain) and Syon House, 1710

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WILLIAM GREEN OF OXFORD (fl. 1749-1765)

A favourite white pointer standing in a landscape Signed a n d d a t e d 1757 lower right Oil on canvas U n f r a m e d : 4 0 x 50 in / 101.5 x 127 c m F r a m e d : 48 x 58 in / 122 x 147.5 cm In a good c a n e d a n d gilded G e o r g i a n frame PROVKNANCE: By family descent until sold at Christie's 17th F e b r u a r y 1982 (lot 5) b o u g h t L a n e Fine Art for a private collector, U S A , f r o m w h o m re-purchased 2001.

\Villiam G r e e n is first d o c u m e n t e d in 1749

T h e p a i n t i n g is executed in a crisp a n d

w h e n he p a i n t e d a n d signed a portrait of

detailed t e c h n i q u e which d e m o n s t r a t e s an

Sir y\nthony Van Dyck after the portrait

a c c o m p l i s h e d a n d expert h a n d . Stylistically,

bust by Rysbrack; he m a y well, too, have

it is close to the work of J a m e s Seymour.

been the a u t h o r of the p a i n t i n g of An Oxford Book Auction (Oxford, Bodleian Libraiy)

T h i s is the only known D o g p a i n t i n g by

p a i n t e d two years earlier in 1747. The initial

the artist.

of the signature on that p a i n t i n g is illegible - it m a y be by the p a i n t e r J(ohn) G r e e n . It seems likely, f r o m the evidence of the W a t e r f o r d manuscripts, that the two were brothers. J o h n was p a i n t i n g as late as 1768, w h e n his b r o t h e r was 'recentlv deceased'.

T h e G r e e n family of O x f o r d were painters in that city for at least two generations in the m i d d l e of the eighteenth century. T h e i r out|)ut is relatively small, t h o u g h it is likely, given the large n u m b e r of p a i n t i n g types (landscape, conversation pieces, sporting pictures, still lives) that m a n y m o r e exist t h a n are presently k n o w n - p r e s u m a b l y becau.se they are unsigned.

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IS:.;.: V

EDWARD WARD GILL OF NORTHAMPTON {circa 1 795-aVca 1860)

A small boy leading his bay pony across a field, with his two springer spaniels Oil o n canvas U n f r a m c d : 1 7 x 21'A in / 4 3 x 54.5 c m

There are several painters called Gill all of w h o m were working in the M i d l a n d s d u r i n g the first hall' of the nineteenth century, a n d the rccords of whose work have consequently been extremely m u d d l e d . The a u t h o r of the present c h a r m i n g work is a native of N o r t h a m p t o n s h i r e . This attribution is c o n f i r m e d by the print published by .Ackermann, a leading sporting dealer of this period. It would a p p e a r that his work is confined to subjects of a rural a n d sporting nature. His t h e m e s are largely those of his c o n t e m p o r a r i e s H e n r y Aiken a n d R i c h a r d Barret Davis, a n d he p r o d u c e d n u m e r o u s paintings of the Q i i o r n a n d the Pytchley h u n t s in their golden age.

His technicjue is greatly influenced by the earlier generation of artists sucii as J o h n Nost Sartorius, William Williams a n d Stringer of K n u t s f o r d . H e also p r o d u c e d portraits of such luminaries of the h u n t i n g field as Squire O s b a l d e s t o n . His compositions are personal a n d idiosyncratic a n d have an easy a n d u n a s s u m i n g c h a r m , exemplified by his g r o u p portrait of the Rev John Lilly's Mares and Foals at New Court, Hereford exhibited at A c k e r m a n n in 1989.

H e are grateful lu David Fuller ftir confirming the attribution of this painting.

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FRANCIS SARTORIUS (1734-1804)

Two pointers

in a wooded

landscape

Signed and dated 1787 lower right Oil on ean\'as Unfranied: 25 x 30 in / 63.5 x 76.2 em Framed: 32 x 37 in / 81.3 x 94 cm

J O H N NOST SARTORIUS (1755-1828)

The Great Match Oil on canvas Unframed: 18 x 13 in / 45.8 x 33 cm Framed: 21'A x IG'A in / 52.6 x 42.6 cm

JOHN NOST SARTORIUS (1755-1828)

Mr Christopher Wilson''s hay racehorse 'Sophia' with jockey up on the Rowley Mile at Newmarket Oil on canvas Signed and dated 1801, and inscribed Sophia by Buzzard U n f r a m e d : 28 x 36 in / 7 1 x 91.5 cm Framed: 34V, x 42V, in / 87 x 107 cm In a fine ( J e o r g i a n carved and gilded l i a m e l>R()VKNA.\t:E:

Painted for CJhristopher Wilson at Oxton Stud, Yorkshire, 1801

Sophia was a bay racehorse foaled in 1798, got by Buzzard out of Huncamunka by Highflyer. She was bred by CJhristopher Wilson at Oxton, the 'Doyen of the English Turf and Father of the Jockey C l u b ' He was the winner of the very first 1,000 Guineas Classic with Charlotte and the first 2,000 ( J u i n e a s with Wizard. Sophia is depicted after winning her match for 200 Guineas against the Duke of CJrafton's Ftambeau as a three year old ox er the Rowley M i l e at Newmarket. This was the second time she had been painted by Sartorius: she appears as a foal in his Mares and Foals at Oxton painted by the artist in 1798.

t 63

THE SARTORIUS FAMILY ,)AC:()15 ClHRlSrOI'HKR SARIORILIS III. Ili<)4-I77:i)

. | ( ) H \ SAR I O R I U S

I RAXCIIS SAR TORIL'S (I7:ii-i!i()t)

J O H N XOSI SARIORirs ,7iral7:).>-l!!L'i!)

JOHN 1 SARIORIl.S l irail 773-18!) 1

FRA\C:IS SAR rORlL S (1777-alUT I am (inar'nit' funnier)

I'he Sartorius f a m i h of sporting artists w ere

air of c h a r m . H e worked for jiatrons such as

rural content of his ])aintings. he li\ed the

d c s c c i i d f d f r o m j a c o i ) C;hristo]3hcr (11. 1694-

the D u k e of Ckimberland, the D u k e of

greater |)art of his life in Soho. In 1787

1773), an engraver of Xiirenibcrg. Little is

( i r a f t o n , the M a r q u i s of R o c k i n g h a m a n d

he is recorded as li\ ing at 2 S|)in- Street,

known of the circ umstances in which this

K i n g G e o r g e III, f r o m w h o m he h a d two

Leicester .S(|uare. In the later ]5art of his life

faniily c a m c to iMigland. They were

commissions. This greatly e n h a n c e d his

he m o \ c d to the then almost rural delights

h c w e v e r over four generations to p r o d u c e

r e p u t a t i o n , a n d he exhibited at the Royal

of K e n n i n g t o n . It was in a house n e a r the f a m o u s ( ) \ a l CIricket g r o i m d that he died.

an artistic d o c u m e n t of sporting a n d

A c a d e m y f r o m 1773-1791. H e was a regular

c o u n t r y life that today serves as b o t h a

c o n t r i b u t o r to the Sporling, Maga-zine, four

R a t h e r like his father Francis he would have

decorative a n d interesting o v e n iew of

e n g r a \ ings of his work a])pear in xolumes

a])|jeared. despite his \ ast o u t p u t of work

ii-\ i (I 793-1 795). Thirty-eight of his works

a n d the wealth) circles in which he m o \ e d ,

coinitry ])ursuits o \ e r a h u n d r e d year period.

were shown at \ arious L o n d o n galleries,

to h a \ e died a p o o r m a n . His estate was

Each generation m a d e L o n d o n their base,

t w e h e of which were at the R{)\al .Vcadenn.

\ a l u e d at / ' 2 0 at the time of his d e a t h .

but with the n a t u r e of their subjects anel

W h e n he died in M a r c h 1804, aged se\enty,

commissions they spent m u c h of their time

he was li\ ing at 17 ( i e r r a r d Street in Soho.

H e h a d two sons. J o h n Francis Sartorius

at the great sporting e \ e n t s . H e r e they

W h e n the administration was g r a n t e d to his

[circa 1775-1831) w h o c o n t i n u e d to paint

mi.\ed witii the gentry w h o were to ])ro\ ide

only siuA ix ing son of his two m a r r i a g e s it

equestrian a n d countr)' ]3icture.s, a n d Francis

tliem with e n c o u r a g e m e n t a n d ]Datronage

was \ alued at Just / , 1 0 0 . His great

Sartorius {Mil-

that was to allow t h e m to r e m a i n true

])roducti\ ity seems not to have been

first of the Sartorius familly to d e p a r t f r o m

itinerate sjjorting artists.

com]5ensated b\ his inability to charge high

c o u n t n - subjects a n d tin n his attention to

prices. (He was rccei\ ing 15 guineas for a

m a r i n e subjects. N e i t h e r of t h e m h a d the

J o h n Sartoriiis (1 700-1 7f5{)) p r o d u c e d m a n y

large c a i n a s w h e n m i d d l e r a n k e d ]5ortrait

same success as their father in regard to

portraits of f a m o u s racehorses. His first

artists like \\'illiam Beechey were recei\ ing

their patrons, but J o h n F exhibited at the

m a j o r commis.sion was f r o m M r T h o m a s

100 guineas for a similar sized h u m a n

Royal A c a d e m y from 1802-1827, .sending

P a n t o n ui a b o u t 1722 the subject Molly a

portrait).

sixteen ])ictiires in total. H e h a d his work

on the turf, exce])t in the m a t c h tiiat cost her

J o h n Nost Sartorius {circa 1755-1828), the

Magazine a l o n g with his father, but it is \ ery

her life'. T h e succe.ss of this commi.ssion

most f a m o u s artist of the family c o n t h u i e d

difficuk to dilferentiate between the two as

b r o u g h t a b o u t o t h e r work such as hivby

in his fathers foolste])s. p r o d u c i n g ec|ueslrian

their style is \ ery similar, a n d often works were just signed 'Sartorius'.

after f808) w h o was the

r e p r o d u c e d as engrax ings in the Sporting

celebrated Mare 'w hich had never been beaten

(1735) for the D u k e of Bolton. H e exhibited

a n d c o u n t r y life scenes. H e met m a n y of his

o n e picture at the Societ)- of Artists,

clients at the N e w m a r k e t races, including

sixty-two at the Free Society of Artists a n d

.some of the most f a m o u s aristocratic

I'he Sartorius family were i m p o r t a n t in

o n e at the Royal Academy. H e \ \ a s the

sportsmen of the age: Lords Derby, Foley,

]3roducing images of English Clountry Life,

fatiier of Francis Sartorius, w hose style is

Kingston, the b r e e d e r s a n d trainers

a n d their works ]5rovide a catalogue of

very similar.

C:hnsto])her ^Vilson a n d Sir C;hades

c h a r m i n g images. T h e ) all ha\ e a similar

Bunbury, but the grandest was the Prince

feel to t h e m , but m a n a g e to c a p t u r e the

Francis Sartorius (1734-1804) was J o h n ' s .son

of Wales. His works are to be fotuid in m a n y

c h a r m a n d c h a r a c t e r s of the animals.

a n d ]3u]5il. His early training with his father

c o u n t r y houses a r o u n d E n g l a n d , show ing

The list of aristocratic g e n t l e m e n w h o

was followed by a j^eriod s]3cnt in the studios

that he was, like his father, itinerant. H e

patronized t h e m indicates the high regard

of T h o m a s Butler, based in Pall Mall, who.se

exhibited s e \ e n t y - f o u r pictures at the

a n d re]3utation the family held.

slightly w o o d e n , but c h a r m i n g style

Royal A c a d e n n between 1781-1824, a n d

influenced him. Francis d e \ e l o p e d his own

engra\ ings of his works b y j \Valker, J W e b b

11 arc gral(/ut to David I'ultnjiir tiis rneairti an lltf

style using simple comjDositions a n d colour

a n d others a]5pearcd in the S[mrtinn Magazine

Sartarim Jantity.

skillfully, creating a timeless a n d e\'ocati\e

f r o m 1795-1827. l)es])ite the exclusi\eK

JOHN FREDERICK HERRING SNR (1795-1863)

Portrait of a bay hunter Signed and dated 1835 centre right Oil on canvas Unframed: 22 x 30 in / 55.9 x 76.2 cm Framed: 26V4 x 35 in / 68 x 89 cm

This painting i.s a fine example of Herring's horse portraiture. He had returned to London in 1833 and was establishing hiinself as a leading sporting artist, continuing to paint the principal thoroughbreds, but also hunting and coaching subjects and even two works after Horace Vernet illustrating B\ ron's poem Alazappa, which were purchased by his most important patron at that time, William Taylor Copeland. T h e r e is a long held tradition that those ]5aintings signed in red, as this one is, were commissioned works. Whether this is true or not, they are virtually always of the finest quality. J o h n Frederick Herring Senior (1795-1865) was the most successful and prolific mid nineteenth century sporting artist. Born in London of Dutch/American descent, he left home at the age of eighteen for Uoncaster where he arrived to see William win the 1814 St Leger. His love of horses and ability to paint them soon led to his emjjloyment as a coach painter and later a stage-coach driver. It was whilst driv ing the Doncaster Halifax coach that he met Charles SpencerStanhope who encouraged his friends to commission jxirtraits of their horses from Herring. O n e of these, Frank Havvkesworth, guaranteed him work for a w hole year and it was this offer that finally persuaded Herring to become a full time artist. He had exhibited his first work at the Royal Academy in 1815, but it was his series of jiaintings of St Leger winners that were

engraved, first in Doncaster then in London, which established his reputation. Herring moved to Newmarket in 1830 and three years later back to London where until 1847 he continued painting the Derby and St Leger winners, but also hunting and coaching subjects. He was appointed animal painter to the Duchess of Kent in 1845 and the following year received his first commission from the Queen Victoria. In the late 1840's he started to paint rural and farming scenes in a broader stv ie than his sporting subjects. These somewhat sentimental interpretations of the English Countryside were so popular that their success enabled him in 1857 to purchase M e o p h a m Park in Kent, a small countryestate with an attractive farmyard. Here he spent the last very productive years of his life ably assisted by his younger sons Charles and Benjamin. Although his early work had been much influenced by J a m e s Ward (1769-1859), he soon developed his own crisplv' detailed style, which enabled him to perfectly capture the sheen of a thoroughbreds coat which few artists have been able to achieve so successfulK. It is these works from his early and middle career which raise him to the highest ranks of F-nglisii Sporting Art.

J O H N FRP:DERICK HERRING JXR (1815-1907)

The Steeplechase Signed a n d d a t e d 1845 lower left Oil o n canvas U n f r a m e d : 24 x 42 in / 61 x 106.7 c m F r a m e d : 47'/2 x 29'/. in / 120.6 x 75 cm

Fred, as he was known within his family, was the eldest of J F H e r r i n g Senior's three sons. /Mthough he ccrtainly assisted his f a t h e r w h e n the H e r r i n g ' s were living at Six Mile Bottom between 1830 a n d 1833, he did not a c c o m p a n y the rest of the family w h e n they moved to L o n d o n . It can be assumed that he did not wish to r e m a i n an assistant to his father a n d was keen to m a k e iiis own way as an artist. T h i s he successfully did t h r o u g h o u t a long a n d productixe life spent entirely in the N e w m a r k e t area.

Both his style a n d subject m a t t e r were m u c h influenced by his father, a n d their b o t h having the s a m e initials has in the past led to some confusion in attribution. M a n y of J u n i o r ' s best work have frequently been given to his father. At the start of his career he signed his w o r k j Fred H e r r i n g or JF" H e r r i n g j u n r , but o n c e working o n his own he reverted to J F Herring. Although the tonality of his work is far removed f r o m that of his father, as early as 1836 the early H e r r i n g was a d d i n g '.senr' to his signature. T h i s p r e s u m a b l y was to stop his son's work being passed off as his own, t h o u g h there is n o evidence that this was ever the case. It would a p p e a r that the rift between father a n d son was n e \ e r healed, as there is n o m e n t i o n whatsoe\ er of Fred in J F H e r r i n g senr's very detailed will.

H e r r i n g ' s Steeplechase does not dei)ict any recorded race a n d indeed the r i d e r s colours are not identifiable a])art f r o m the red with black c a p of M r Allan M c D o n o u g h , the leading Irish a m a t e u r , riding the black horse with two white h i n d socks in the centre of

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JOHN FREDERICK HERRING jxR ( 1 8 1 5 - 1 9 0 7 ) Conlinued

the field. T h e scene was ])robahly painted to record the increasing po]Dularity o f the sport and its date o f 1845 was coincidently tlie year that a Steeplechase Calendar wAf, (irst published. Slecplechasing, riding across coiintry in a direct line between two given points, is known to ha\ e taken place in the last years o f the eighteenth century, but the s])ort did not b e c o m e c o m m o n p l a c e until the 1830"s when it was transformed by tlie introduction o f the sweepstake princi])le, the marking o f courses with flags, c o n c e r n for the spectators and l)y the profits m a d e by tiie local innkee]5ers. All these changes resulted in a growth from just three meetings in 1832 to sixty-si.x ten years later, the main courses being at C h e l t e n h a m , the vale o f Aylesbury and Aintree. Although the initial development o f steeplechasing in the 1830's is pictorially well recorded there are few jjaintings o f actual races from the 184()'s and even JP" H e r r i n g Senior's well known Steeplechase Cracks, painted in 1846, does not show an actual race, but an a m a l g a m o f the leading riders o f the day T h e r e had always been some o]5portunity to the s]K)rt and

Mmrod,

one o f the leading sporting journalists o f the period, described it as ha\ ing 'all the false excitcment o f gambling without it's fair chances; and all the show o f hunting without its beautiful spirit'. Nex'crtheless, until about 1 8 5 0 steeplechasing grew in esteem as well as in size, but the increasing n u m b e r o f small and ill organised meetings with few m a j o r ones starting led to a reinitation o f scandal and fraud and the sport did Tiot reco\er until the founding in 18()3 o f a National Hunt C'ommittee. By 1870 there were clear rules and a recognised authority com])()sed maiTily o f m e m b e r s o f the Jockey Cllub and especially those who were ( J e n t l e m a n riders.

I \'f arc ^rahjul !/> David hitter jar tii.s rpsmn h an this /mmthiQ. 71

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NATHANIEL HAR'I NELL (fi. 1829-18(i4)

The Picnic .1

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Signed lower right on the liani])er Oil on canv as Framed: 40 x 48 in / 101.5 x 122 cm U n f r a m e d : 28 x 36 in / 72 x 91 cm Picnics. ' T h e Season' is littered with them the Fourth of J u n e at Eton (College, Henley Regatta, Lords, Wimbledon, Glyndehourne, a n d the start of grouse shooting on the "(Jiorious 'I'welfth". Never much recogniscd for their culinary prowess, the English excel at picnics. Smoked salmon, lobster, strawberries and cream and all ciiased clow n with Pimm's and cham])agne. Picnics e\oke memories ol" the perfect English summer's day and the subject has attracted ])ainters, ])oets and writers tiirotighout history. 'Fhey reached the height of their popularity in the nineteenth century and The Picnic In' Nathaniel I iartnell is a c h a r m i n g document recording this time. In the 1854 editie)n of Webster's I 'mihridged Dictionary, a '])icnic' is defined as, 'an entertainment to which each person contributed some dish or article for the general table". 'Fhis idea of mutual sharing and collaboration was fundamental to the original significance of the picnic. It is thought that the term 'picnic' was first used around 1740 and was probabK' a deri\ ation of the iTench \'crb ]5iqucr, referring to picking at food. The notion of eating outdoors perhaps had its origins in the hunt feasts of the Middle Ages, where a meal of pies, cooked meats and sweet tarts took place in a forest clearing before the start of the hunt. File Picnic Society was formed in f^ondon early in tlie nineteenth century by a grou]) of society ])eo])le who took their ])icnics very seriously indeed. I he fashion for excin'sions from the city into the country created a need for meals eateti outdoors. Po])ular actix ities such as sketching or collecting rare fungi,

butterflies a n d flowers were a perfect excuse

tea ketde tossed u n w a n t e d to the side.

Hartnell's painstaking attention to detail is

for extravagant |3icnics. Q i i e e n Victoria

Surprisingly most of the food is u n t o u c h e d

seen in his depiction of the willow p a t t e r n

a n d Prince Albert's fondness for picnics is

a n d rather t h a n eating the picnickers are

design of the china. Willow ware b e c a m e

described in the Q u e e n ' s IjeavesJrom the

e n g a g e d in various leisurely pursuits.

p o p u l a r with the wealthy classes w h e n the

to 1861 a n d a d d e d f u r t h e r popularity to the

T h e n i n e t e e n t h c e n t u r y was a time of new

established. T h e inclusion of the fashionable

picnic. T h e s e m e m o i r s c o m m e m o r a t e d the

affluence for many, with an e m p h a s i s o n

blue a n d white c h i n a in the scene, likewise

h a p p y times the Q i i e e n spent in Scotland

status a n d leisure. T o be depicted in a

the silverware, was an o p p o r t u n i t y to show

with h e r h u s b a n d a n d were first published

p a i n t i n g e n g a g e d in the art of conversation

off the family's wealth. 'Willow' applies

privately a n d t h e n publicly in 1868, w h e n

or playing musical instruments was a way

loosely to the m a n y copies of blue a n d white

the b o o k b e c a m e a n i m m e d i a t e bestseller.

of placing oneself in society. T h e family

porcelain i m p o r t e d into E n g l a n d f r o m

T h e Q u e e n ' s entry for W e d n e s d a y 16th

a n d h o m e were central to the Victorians

C h i n a d u r i n g the last half of the eighteenth

O c t o b e r , 1861 describes a 'delightful

a n d painters e m b r a c e d this in their work

cetitury. T h o m a s M i n t o n is widely believed

expedition' to C a i r n L o c h a n :

showing the unity of the family. T h e

to have b e e n responsible for a d o p t i n g the

c o u n t r y life, as o p p o s e d to vice-ridden city

design a r o u n d 1 780 a n d for nearly two

'We sat o n a very precipitous ]3lace, which

living, represented i n n o c e n c e a n d the values

centuries it has b e e n o n e of the most

m a d e o n e d r e a d any one m o v i n g backwards;

of tradition. By depicting a family a n d their

p o p u l a r of c h i n a designs. T h e porcelain is

a n d here, at a little before two o'clock, we

friends picnicking in picturesque countryside

f o u n d in royal collections woridwide a n d the

lunched. T h e lights were c h a r m i n g l y soft,

the artist d r e w an association between the

collecting of blue a n d white wares was very

Journal of our Life in the Highlands, from

1848

t r a d e b e t w e e n C h i n a a n d E u r o p e was

a n d , as I have said before, like the b l o o m on

two. Fortune-tellers were p o p u l a r at the time

p o p u l a r t h r o u g h o u t the Victorian period.

a p l u m . T h e l u n c h e o n was very acceptable,

a n d the two w o m e n to the left seem to be

T h e Aesthetic M o v e m e n t of the 1870s a n d

for the air was extremely keen |...J I m a d e

in d e e p discussion with o n e a n o t h e r a b o u t

1880s f u r t h e r p r o m o t e d it a n d its most

s o m e hasty sketches; a n d t h e n Albert wrote

their futures. H a r t n e l l is not merely

f a m o u s p r o p o n e n t was O s c a r Wilde w h o

on a bit of p a p e r that we h a d l u n c h e d here,

c o n c e r n e d with social d o c u m e n t a r y h o w e \ e r

famously r e m a r k e d , 'I a m trying to live u p

p u t it into Sclters-water botde, a n d buried

a n d includes sentimental a n d h u m o r o u s

to my china'.

it there...'

touches, such as the a d o r i n g looks the y o u n g w o m e n cast towards the y o u n g m e n , a n d the

T h e setting of the p a i n t i n g is t h o u g h t to

N a t h a n i e l Hartnell's p a i n t i n g therefore

r a t h e r portly boy sneakily taking a piece of

be C h a n c t o n b u r y Ring; looking towards

celebrates a golden age of picnics.

fruit. It is n o t k n o w n w h o the subjects are

W a s h i n g t o n at the foothills of the S o u t h

T h e p a i n t i n g is in the tradition of the

in Hartnell's p a i n t i n g o r w h e t h e r it was a

Downs. C h a n c t o n b u r y R i n g is a hill with a

conversation piece, a f o r m p o p u l a r in

commissioned work. In any event, such

circle of b e e c h trees p l a n t e d on top of it: a

E n g l a n d f r o m a r o u n d 1730. T h e s e were

decorative scenes were p o p u l a r with buyers

f a m o u s l a n d m a r k in West Sussex a n d o n e

portraits of two o r m o r e individuals, friends

w h o wished to h a n g the leisured classes

often p a i n t e d a n d p h o t o g r a p h e d . T h e ' R i n g '

or family m e m b e r s , a n d pictured i n f o r m a l

o n their walls a n d thus gain status

at C h a n c t o n b u r y actually applies to circular

events, such as tea drinking or, as seen here,

via association.

earthworks at the site, r a t h e r t h a n the later

intimate g r o u p mostly interacting with each

T h i s piece is typical of N a t h a n i e l Hartnell's

T h e trees were p l a n t e d in 1760 by C h a r l e s

picnicking. Hartnell's p a i n t i n g shows an

s u r r o u n d i n g trees as is c o m m o n l y believed.

other, r a t h e r t h a n the viewer Conversation

work. H e lived in K e n n i n g t o n , L o n d o n a n d

Goring, heir to the Wiston Estate, w h o ,

pieces often have a theatrical cjuality a n d

was well represented at the Royal Academy,

w h e n he died in 1829, h a d fulfilled a

h e r e certainly a stage a p p e a r s to have b e e n

w h e r e he exhibited ten works b e t w e e n 1831

set, the viewer positioned as if a b o u t to join

a n d 1853 a n d at the Royal Society of British

in themselves. A further, t h o u g h slightly

Artists, w h e r e he also showed ten works

m o r e tenuous invitation is offered by the

between 1831 a n d 1856. Hartnell was also

yotnig girl on the left of the painting, as she

an a c c o m p l i s h e d l i t h o g r a p h e r H e was

pushes back the hair f r o m her face a n d

equally a d e p t at p a i n t i n g landscape a n d

smiles at the viewer. Large wicker baskets

figurative

c o n t a i n i n g a pristine white tablecloth,

two. The Picnic is u n d o u b t e d l y o n e of the

porcelain [ilates, c a n t e e n s of silver cutlery

finest examples of this. O t h e r paintings by

works a n d often c o m b i n e d the

a n d lead crystal glasses h a w been u n p a c k e d

the artist include: Guarding Time: The Errand

to a c c o m m o d a t e an extensixe m e n u of

(1838); Resting by the Way (1842); Rent Collector

lobster, cooked hams, g a m e pie, p u d d i n g s

(1849) as well as Resting in a It boded Evening

a n d fruit. T h e r e are n u m e r o u s botdes a n d

lMr]dscape (1842), a work that bears notable

flagons littering the scene with the c o p p e r

similarities v\'ith The Picnic.

Queen I'icloriapicmckmg,

Man

E \ a n s Picture l . i b r a n .

principal personal desire in ha\'ing seen

Napoleonic wars. W h e n the threat of French

folklore also suggests they are uncountable.

their successful growth into adulthood:

invasion was C|uelled in 1815 the Ring

Fairies ha\'e been sighted dancing around

b e c a m e a po]Dular picnicking spot.

the Ring on M i d s u m m e r Eve. It is a local

' O h ! Could 1 live to see thy top

Folklore surrounding the Ring has gi\'en the

custom to watch the sunrise on Ma)-

In all its beauty dress'd

area added mystery. Legend has it that if a

m o r n i n g at the toj) of the hill and the

That time's arrived; I've had my wish,

m a n runs around the ring seven limes

C h a n c t o n b u r y Ring Morris M e n still

and lived to eighty-fi\'e. I'll thank my G o d

without stopping on a moonless night the

obser\e that tradition by dancing there at

who ga\'e such grace,

De\ il v\ ill a]jpear and offer him a bov\ l of

dawn. Today C h a n c t o n b u r y Ring is barely

as long as e'er 1 live'.

porridge. Some say that if he acce]3ts, the

recognisable after the devastating Great

De\ il will take his soul in payment; others

Storm of 1987. Before new trees were

The Ring was used as a look-out in 1588

say he will be granted a wish. Further tales

planted an excav ation of the area rexealed

when Philip II sent his Spanish A r m a d a to

claim Caesar and his armies can be raised

that an early Iron Age hill fort and a Roman

attack the English and during the

bv counting the trees of the Ring though

temple had also occupied the site.

Hartnell's painting shows several striking similarities to a painting by Henry Nelson O'Neil (181 7-80). O'Neil's work called A Picnic was painted in 1857 and is similarly lavish with lobster, pies and game being served and a servant in attendance.

bottles'. T h e 'over-dressed' remark is particularly amusing as Tissot's painting was in fact a parody of the most famous ]5ainting of a picnic - Edouard Manet's Dejeuner sur

Various motifs that appeared in the Hartnell painting are repeated here: a fortune teller reading the palm of a lady in the shadows on the right; the courting couple and again, the picnickers seem disinterested in food, apart from the man in the foreground who is c a n i n g a bird. As in the painting by Hartnell, only one figure engages with the viewer, the others being engrossed in each other or minor tasks. Again it is a young gid, though in the O'Neil she is the central figure and addresses the viewer seemingly in a trance. T h e O'Neil was offered by Sotheby's in 1997 and fetched 194,000, making it the most expensive painting to be sold at Sotheby's South. It was sold by the same Kent family which consigned the Hartnell painting.

T h e interest in and status of the picnic in the nineteenth century also pro\'ided some of the most memorable moments in the literature of the period. T h e picnic on Box Hill in J a n e Austen's Emma, published in 1816, is the setting for one of the most dramatic scenes in Austen's work. Charles Dickens' characters were keen picnickers and T h o m a s Hardy wrote of picnics past in his wistful poem. Where the Picnic Was. O n e of the most famous picnics of all time took place on 4th July, 1862 when Charles Lutwidge Dodgson and his friend Robinson Duckworth took the Dean of Christ Church's daughters (Alice, Edith and Ina Liddell) on an outing:

I'herbe (1863), which is in the collection of the Musee d'Orsav.

'Duckworth and I made an expedition up the river to Godstow with the three Liddells; we had tea on the bank there, and did not reach Christ Church again til quarter past eight... O n which occasion, I told them the fairy-tale of .Mice's Adventures Under Ground...'

T h e fun and the romance of the picnic made it a popular subject with other notable Victorian artists, including Sir Francis Grant, Miss Kate Greenaway, Arthur Hughes, Henry J o h n Yeend King, Sir Edwin Henry Landseer, Samuel Palmer, Valentine Cameron Prinsep, Frederick Sandys and Joseph Mallord William Turner. Fairy painters, including Charles Altamont Doyle and J o h n Anster Fitzgerald, often painted fairy picnics. T h e picnic was also painted by a host of nineteenth century European and American painters. A very different painting of a picnic produced during the Victorian period was Holyday {circa 1876) byjaccjues

published under Dodgson's pen name, Lewis Carroll, and it became one of the most popular children's books ever written. T h e twentieth century saw Mole and Rattie picnicking on the riverbank in Wind in the Willows on a feast of

Joseph Tissot, which is in Tate Britain's collection. Again the picnic is used to show Victorian leisured society but in a very different way to Hartnell's simple depiction of a country scene. J o h n Ruskin criticised 'Fissot for his 'mere coloured photographs of vulgar society' and when Holyday was shown at the Cirosvenor (iallery in 1878 Oscar Wilde condemned the, 'over-dressed, common-looking people and ugly, painfully accurate representation of soda water

'coldtonguecoldhamcoldbeefpickledgherkinss aladfrench-rollscrcsssandwichespo ttedmeatgingerbeerlemonadesodawater.' It also saw the writing of the wideK' lo\'ed song, The Teddy Bear's Picnic {\9'i2) and Brideshead Revisited (1945) where Sebastian Flyte and Charles Ryder laze under elm trees, eating strawberries, drinking wine and smoking Turkish cigarettes. Sebastian declares the picnic spot:

'Just tlie place to bury a crock of gold [...] I should like to bury something precious in every place that I've been happy and then, when I'm old and ugly and miserable, I could coine back and dig it up and remember' It is perhaps this sentiment that goes some way to explain the enduring popularity of picnicking and the attraction of Nathaniel Hartnell's painting. Hartnell painted a delightful snapshot of Victorian picnickers; providing contemporary viewers with information about the fashions and social conventions of the era. T h e picture's appeal owes much to Hartnell's talent as a painter, coupled with a subject matter that evokes fond memories of sunny days, delicious food and time spent with family and friends.

H e n r y Nehson O ' N e i l (1817-80), A Picnic, Clmstie's Images, Ijondon, U K / B r i d g e m a n Art library.

T h e children adored the story and Alice asked Dodgson to write it down for her. In 1865 Alice's Adventures in Wonderland was

J a f | u e s J()sc])h Tissot, Hulyday, Tatr Britain.

lie fjrc grateful to Suzziine Bailey for her research and compitation of this entry.

rC 11

• i.

ARTHUR MONTAGUE (fl. 1870-1895)

The interior of the Studio of Arthur Jose de Souza Loureiro, Melbourne Signed a n d dated lower right 1892 Oil on canvas U n f r a m e d : 76.5 x 107cm / 30'A x 42'/8 in Framed: 106.8 x 137.1cm / 42 x 54 in PROVENANC K: Acquired in Au.stralia by the last owner in 1978

This is an exceptionally rare view of the interior of an artist's house in Australia at the time of the Aesthetic Movement. Arthur M o n t a g u e lived next door to Arthur Jose de Souza Loureiro in the late 1880s, and the ])re.sent picture was executed as a m e m e n t o of their friendshi|5. A ])laque on the original gesso frame identified the subject matter.

It is \ery rare to ha\e a \ iew of the interior of an artist's house at this date, and the pre.sent painting shows to perfection the Aesthetic Interior, with its highly fashionable taste for J a p a n e s e works of art and a tnore sparing use of decoration and furniture. As such, it is an in\ aluable historical document in the development of style and taste in late nineteenth centurv Australia.

.â&#x20AC;˘\rthur J o s e de Souza Loureiro was iiorn in Oporto, Portugal, in 1853, but emigrated to Melbourne, Australia in 1884, prom]jted by his m a r r i a g e to a T a s m a n i a n . He had experienced the revolutionary art that was sweeping Paris and exhibited at the Paris Salon. H e was taught at the A c a d e m i c des Beaux-Arts and won the 1879 Prix de Rome. Loureiro was discovered painting in Fitzroy ( J a r d e n s by Louis Buvelot and J a m e s Smith, who considered his Iree ptein-air style infinitely preferable to the stale Victorianism u h i c h was the ])re\alent taste at the Victoria A c a d e m y of Art. He was a founder m e m b e r of the Australian Artists Association with Conder, Roberts and Streeton who disseminated the new ideas in art, leading to an indigenous .Australian plein-air school based on impressionist techniciue. Loureiro e\entually left .Melbourne in 1914.

ALFRED BROGUE (1870-1955)

Ixidy in an interior seated at a piano Signed and dated 1911 lower left Oil on canvas Unframcd: 24V, x 19'/, in / 63 x 49 cm Framed: SO'A x 2574 in / 77 x 64.2 cm

i\lfred Brogue had a classical education at the Academy of" Arts in Copenhagen and won various awards in 1900, 1901 and 1903. H e exhibited at the Chariottenberg, the Danish equi\alent of the Royal Academy, from 1892 until 1911. He tra\ellcd widely throughout Europe, visiting Germany, France, Italy and S])ain. Brogue is known for iiis landscapes and for his idealised interiors of sun-filled rooms, after Holsoe. His paintings were widely reproduced, especially as postcards. In 1906 he married Yrsa Schou, the daughter of Danish painter Peter Schou. During his life he was appointed director of a school to teach drawing to women without financial means.

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STANHOPE ALEXANDER FORBES RA (1857-1947)

The white horse

Signed and dated 1917 lower left Oil on canvas Unframed: 24 x 20 in / 51 x 61 cm Framed: 28% x in / 73 x 62.5 cm

Barbizon and the Dutch Hague schools. Closer to home, a further group established itself in Glasgow, and just a few miles from Newlyn itself, St. Ives saw the creation of its own artists colony.

Stanhope Forbes was a leader in the so-called 'Newlyn Group" foiinded in the early 1880"s. Born in Dublin, Forbes learnt to draw under Sparkes at Dulwich College. Sparkes was an excellent teacher, training his pupils to work from models and casts rather than the traditional method of copying other works of art. Such good l^ractice was later to ser\e Forbes well.

The basic ethic of the group was a plain one. Reacting against the growing industrialisation of the country, the Newlyn Ciroup, as its contem]5oraries, was dri\en by a nostalgia for the ways and traditions of what was a fast disa]j]5earing rural life, which gradually became more and more idealised. As mentioned earlier, the group were much influenced by contemporary French painting, but this was in diluted form, via the likes of Jules Bastien Lepage (1848-84) rather than the Impressionists themselves. The grou]5's notion of living amongst their stibjects and devotion to realism can be regarded as a direct result of the influence of Lepage, and his work no doubt served as the stylistic bridge between their traditional education and the shock of the new, as represented by Impressionism.

In 1880, Forbes moved to Paris where he studied under Leon Bonnet. Whilst in France he took several trips to Brittany during the early 1880's, where he first experienced painting outdoors with both its pleasures and technical difficulties. Forbes greatly valued this st)le of painting en plein air for which his work in Newlyn was to be much appreciated. He remarked that 'it needed more than an occasional visit to the country to get to the heart of its mysteries.' Newlyn is a small fishing village on the Cornish peninsula, about a mile west of Penzance. Forbes found his way there in early 1884, and joined a number of other artists already settled there as part of the 'Newlyn (Jrou])'. There were a number of contributing factors that led to the creation of the grou]) - the urge among artists of the time to reject classical and Pre-Ra])haelite influences in favour of innovative French styles of |)ainting, as well as the need for artistic c()ni|)anionship, and the desire to li\e as close as jjossible to their subject matter. Newlyn v\as not alone in witnessing the formation of a colony of artists, bent on rejecting the rules of conventional academic painting, as similar groups settled in rural areas across Furope, such as the French 82

Forbes may not have been a founding member of the Newlyn Group, but the consistenth' high quality and success of his work led to his becoming its figurehead, both amongst its members and the outside world. The success of works such as A Fish sale on a Cornish Beach of 1885, led to the development of the public image of the group, it being officially recognized by the foundation of the Passmore I'xlvvards gallery in 1895. 'Fhrough the foundation of his school of painting in 1899, Forbes was central to the development of a new generation of Newlyn artists, incltiding F.rnest Proctor and Dod Shaw. l b these he was known affectionately as 'the professor' and his position as an influential artist and tutor in Newlyn continued well into the twentieth centurv.

In 1910 Forbes was elected a full Royal Academician, an event that took place at a time when his work was becoming increasingly impressionistic. Howe\er the subsequent years would prove hard for the painter. In 1912 he suffered the loss of his wife, fellow Newlyn Elizabeth /\rmstrong, and he would later lose his only son. Alec, in the (ireat War. The potential horrors of the newly itidustrialised world, that Forbes and the Newlyn's had attempted to escape, thus forced their way into the artist's reality. 'Fhough his work became less consistent during this period, Forbes continued to produce some fine examples, the style of which hark back to the rural idealism of his earlier Newlyn works, such as The While Horse o( 1917. While his style here is looser and more confident than in earlier works, the subject, a rural scene painted from life, as well as his keen attention to the depiction of light and shade and successful tonal harmonies, remain absolutely typical of his earlier stvle.

Slanliopc Alc.sanclcr liirlx-s (18.T7-1947), 7/le Drinking J'lace. Oklliani .Art (iallt-r)-. I.aiuashiic, I R . Courtesy f)f" tlic artist's estate/liritlgrmati .Art l.ihraiy

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CASPAR RITTER (1861-1923)

Portrait of an elegant lady Signed upper right Oil on cam as Unframed: 36'A x 28'A in / 93 x 73 cm Framed: 43'A x 36 in / 110.5 x 91.5 cm

This charming portrait is a stylish re|3resentation de]5icting the elegance of the 1920's. Reminiscent of artists such as Boidini, Tissot and Helleu, it captures a feeling that all these artists so capably recorded on canvas. Ritter is somewhat dilferent in that he was of G e r m a n origin and appears not to h a \ e been part of a particular artistic group within his home country. He was undoubtedly aware of the other artists working in France, Italy and England, and although not documented it is possible that he was living and working in France at the time this was executed. As so often, little is known of this highly talented artist's life and work, but with the renewed interest in paintings of this period it is probable that works from his studio will emerge in the near future. T h e subject matter is as much of a mystery as the artists' life, whether she is visiting a friend or preparing to open the door, she is shown in a continental hotel setting. The elegance of her attire would suggest she is meeting somebody special.

THOMAS ROBERTSON (1819-1873)

The SS South Australian Signed Oil o n cam-as U n f r a m e d : 29'A x 48V4 in / 75 x 123.8cm F r a m e d : 38 x 55'A in / 96.5 x 139.8 c m

T h o m a s R o b e r t s o n was b o r n in E n g l a n d a n d was trained as a m a s t e r m a r i n e r ; his interest in p a i n t i n g was for m a n y years onl\' that of a c o m p e t e n t amateur. After receiving his M a s t e r ' s ticket, he e m i g r a t e d to Australia where he arrived in 1853. From 1860 he was the master of the clipper-shi]) Lightning o n the Sydney - N e w Z e a l a n d r u n . D u r i n g his time in h a r b o u r , he started to p r o d u c e ship portraits of his own ship, such as the 1856 portrait of t h e R c d j a c k e t ship Lightning that is in the collection of t h e A u s t r a h a n N a t i o n a l M a r i t i m e M u s e u m , a n d those of o t h e r ships.

The present p a i n t i n g shows the artist at his most ambitious. It depicts a ship of great historic i m p o r t a n c e in Australian m a r i t i m e history. T h e South Australian was the first steamship commissioned by the Adelaide S t e a m s h i p C o m p a n y Ltd, a n d was for years their

flagship.

T h e Adelaide S t e a m s h i p C o m p a n y was f o r m e d in S e p t e m b e r 1875 in Adelaide, South Australia, a n d i n c o r p o r a t e d on 8th O c t o b e r , 1875.

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