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42 British School, (Second Half 19th Century) "Landscapes with Cattle Pasturing" pair of oils on artist board signed "W. Martin" lower right and lower left, respectively. Framed alike. each 7-7/8" x 10-1/2" Provenance: Christie's, New York, September 3, 2008, lot 15.
Estimate: 2000 - 4000
167 British School, (First Quarter 19th Century) "Portrait of a Lady" oil on canvas unsigned, formerly attributed to Thomas Lawrence with a French catalogue label en verso with the provenance: "Vente de [Baron] Vinck de Winnezeele, Anvers, 1928, no. 65". Unframed. 30-3/8" x 24-1/2"
Estimate: 1500 - 2500
307 J. Hall, (British, active ca. 1900) "The Grand Canal, Venice", 1904 oil on canvas signed and dated lower left. In a gesso and giltwood frame. 20" x 30" Notes: Primarily a landscapist, Hall exhibited regularly with the Society of British Artists, Sussex Street. A work by this artist is conserved at the Bewdley Museum, Worcestershire, England. Reference: Wood, Christopher. Victorian Painters, Volume I. Sussex: Antique Collector's Club, 1998.
Estimate: 4000 - 7000
405 William Powell Frith, R.A., (British, 1819-1909) "The Last Sunday of Charles II", 1907 oil on canvas signed and dated lower right. In a giltwood frame. 25" x 39-1/2" Notes: "I can never forget the inexpressible luxury and profaneness, gaming and all dissoluteness, and as it were total forgetfulness of God (it being Sunday evening), which this day's night I was witness of, the King sitting and toying with his concubines, Portsmouth, Cleveland, and Mazarine (sic), etc., a French boy singing love songs, in that glorious gallery, whilst about twenty of the great courtiers and other dissolute persons were at Basset round a long table....Six days later, was all in the Dust." Memoirs Illustrative of the Life and Writings of John Evelyn The work presented here is a variant of Frith's 1866 painting "The Last Sunday of Charles II", and was created in the last years of the artist's life when he frequently revisited earlier, favorite paintings. According to Frith's own diary, he was inspired by Evelyn's description, excerpted above, of the liveliness and hedonism of the Royal Court on one of the last days of the King's life (Charles II fell unexpectedly ill the following day, dying several days later). The painting was exhibited at the Royal Academy, where it proved so popular a railing had to be installed to protect it from the throng of visitors. The subject lent itself well to Frith's grandiose style, and allowed the artist to revel in the various accoutrements of the wealthy Court. References: Frith, William Powell, My Autobiography and Reminiscences, London: Richard Bentley and Son, 1887; Evelyn, John Memoirs Illustrative of the Life and writings of John Evelyn, London: Henry Colburn, 1819.
Estimate: 30000 - 50000
413 Studio of Sir Joshua Reynolds, P.R.A., (British, 1723-1792) "Portrait of William, Lord Pulteney", 1760s oil on canvas unsigned. In an antique gilt-washed carved wood frame. 36" x 26-3/4" Provenance: M. Knoedler and Company, New York, New York; A prominent Garden District collection, New Orleans, Louisiana; thence by descent. Exhibited: Dallas Museum of Fine Arts "Four Centuries of European Painting", October 6, 1951-January 13, 1952, no. 21. Literature: Dallas Museum of Fine Arts Exhibition Catalogue "Four Centuries of European Painting", October 6, 1951-January 13, 1952, illustrated no. 21; "Four Centuries of Painting in Museum's Fair Exhibit". Dallas Morning News. September 21, 1951, p. II-7; Graves, Algernon and Cronin, William Vine. A History of the Works of Sir Joshua Reynolds, P.R.A. London: Henry Graves and Co., 1899. pp 775 and 776. Notes: The sitter of this portrait, William Pulteney, was from an illustrious political family and, before his untimely death from fever, there were expectations that he would surpass his relatives in position and glory. Before the age of 30, Pulteney had twice been a Member of Parliament, achieved the rank of Lieutenant-Colonel in the British Army, was named a Lord of the Bedchamber, and was the Aide de Camp to King George III. It is documented that the prodigious Sir Joshua Reynolds was commissioned to paint several portraits of the young man, including one where he is posed with his beloved hunting dog. A portrait of Pulteney by Reynolds is conserved at the Cincinnati Art Museum in Ohio.
Estimate: 12000 - 18000
415 British School, (Fourth Quarter 18th Century) "Portrait of Charles Lee Lewes, Actor" oil on canvas backed with a wood panel unsigned, with an old British shipping label and inventory labels en verso. In an antique gesso and giltwood frame. 36" x 27-3/4" Notes: Born in London of Welsh parentage, Lewes began his acting career in bit roles in the Haymarket, eventually moving on to choicer roles at Covent Garden Theatre. He proved especially adept at comedic roles, so impressing the novelist and playwright Oliver Goldsmith (1728-1774) that the esteemed writer composed an additional dialogue for his play She Stoops to Conquer especially for Lewes to deliver during a performance. After a dispute with the management of Covent Garden, Lewes accepted a position at Theatre Royal, Drury Lane, performing such iconic Shakespearean roles as Falstaff. Lewes apparently had somewhat of an artistic temperament, and eventually fell out of favor with the London theatres. He worked for a short time at the Dundee Theatre, Edinburgh, before moving to Ireland where, impoverished, he spent some time in a debtor's prison. While imprisoned, Lewes worked on his memoirs; they were published posthumously by his son. The thrice-married Lewes had several children and the critic and philosopher George Henry Lewes (perhaps most well-known today as being the paramour of the novelist George Eliot) was his grandson.
Estimate: 3000 - 5000
470 British School, (19th Century) "A Scottish Serenade; a Highland Shepherd and His Flock", 1885 oil on canvas signed "Ines W. Hull" and dated lower left. In a fine acanthine and grapevine decorated gesso and giltwood frame. 21-1/4" x 15-1/4"
Estimate: 1000 - 1500
473 Attributed to Richard Wilson, (British/Welsh, 1713-1782) "Shepherd and Cows Resting Among the Ruins" oil on canvas unsigned. In a giltwood frame. 13" x 19-1/2"
Estimate: 1000 - 1500
474 Samuel Bough, R.S.A., (British, 1822-1878) "Cattle by a River with a View of a Hilltop Castle" oil on canvas signed lower right. Presented in a period giltwood frame. 19" x 28-1/2"
Estimate: 2000 - 4000
475 William Henderson, (British, 1844-1904) "Mother and Child Walking on Path Near Cottages" oil on canvas signed lower right. Framed. 12" x 20" Provenance: I. and E. Campbell, Dealers in Antiques, Edinburgh, Scotland, 1969.
Estimate: 1000 - 1500
483 George Graham, (British, 1881-1949) "Fisherman's Beach" oil on canvas signed lower right, verso with "Kurt E. Schon, Ltd., New Orleans, Louisiana" gallery label. Framed. 28" x 36"
Estimate: 1000 - 1500
493 Oliver Clare, (British, 1853-1927) "Still Life with a Nest and Flowers" oil on canvas signed lower right. Presented in a carved and pierced giltwood frame. 10" x 8"
Estimate: 1000 - 1500
545 Dorian Ker, (British, b. 1948) "Untitled Surrealist Interior", 1982 watercolor on paper signed and dated mid-right. Framed and glazed. sight 71" x 62"
Estimate: 2500 - 4000
818 Henry Scott, (British, 1911-2005) "A Clipper in Choppy Waters" oil on canvas signed lower left, verso with "James Bourlet & Sons, Ltd., Frame Makers and Packers, London, UK" label. Framed and affixed with artist plaque. 30" x 42"
Estimate: 3000 - 5000
847 Attributed to Trevor Thomas Fowler, (Irish, ca. 1800-1871/active New Orleans, ca. 1840-1852) "Portrait of R. B. Shortbridge (or Shortridge)", ca. 1835 oil on canvas Unframed. 36-1/4" x 29" Provenance: Deaccessioned property from a Southern Art Museum.
Estimate: 1000 - 1500
881 Attributed to Robert Sully, (American/Virginia, 1803-1855) "Portrait of Daniel Webster" oil on canvas unsigned. Framed. 24" x 18" Provenance: Deaccessioned property from a Southern Art Museum.
Estimate: 1000 - 1500
892 Albert Hood, (British, 1841-1921) "Not Tired Out", 1875 oil on canvas monogrammed and dated lower right, hand-inscribed label en verso stretcher. Framed. 56" x 44"
Estimate: 4000 - 7000
      
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