Pencil and wash
Image size: 10 ½ x 15 ¾ inches
Monument Side View
Pencil and wash
Image size: 10 ½ x 15 ¾ inches
A Prospect of Richmond Park and Town from the Thames side
Image size: 8 ¾ x 12 ¾ inches (22 x 32.5 cm)
Ink and wash, monogram and dated 1748
Acid free mount and contemporary frame
An early view of Richmond, this work was once part of the Ionides collection. Most of the collection was bequeathed to the people of Twickenham and is held by Richmond Council.
Pencil and ink, inscribed and dated 1793
Image size: 14 ½ x 21 ½ inches
Acid free mount
Venus and Cupid
Oil on panel
Henry Robert Morland
The Letter Woman
Oil on canvas
30 x 25 inches
Original gilt frame
Probably Free Society of Artists, London, The Letters Woman, 1769, no. 164
Philip Dawe, mezzotint, published by Carrington Bowles, 1769
Philip Dawe trained under Henry Robert Morland and was most probably also related to him by marriage. The present painting, along with An Oister Girl, also engraved by Dawe, is said to depict Miss Morland.
His father was the genre painter George Henry Morland, and Henry Robert followed an art career as well, becoming a painter of portraits and domestic subjects, in both oil and crayon.
Circle of Jean-Baptiste Greuze
1725 - 1805
Portrait of a Young Boy with Birdcage
Oil on canvas
Image size: 15½ x 12 inches
Jean Baptiste Greuze was born at Tournus on Aug. 21, 1725. His early life is undocumented, but he studied painting in Lyons and appeared in Paris around 1750. He entered the Royal Academy as a student and worked with Charles Joseph Natoire, a prominent decorative painter. During the 1760's Greuze achieved a significant reputation with his sentimental paintings of peasants or lower-class people seen in humble surroundings and in the midst of theatrically emotional family situations; examples are The Village Bride (1761), The Father's Curse (1765), and The Prodigal Son (1765).
In 1769 Greuze was admitted to the academy as a genre painter. Ambitious to become a member of the academy as a history painter, which was a higher rank, he was so angered by his admission as only a genre painter that he refused to show his paintings at the academy's exhibitions (the Salons). However, by that time he was already famous and could afford to ignore the Salons.
The rising importance of the middle class, and of middle-class morality, also played a part in the success of Greuze's cottage genre. His work seemed to preach the homely virtues of the simple life, a "return to nature," and the honesty of unaffected emotion. The blatant melodrama of his preaching was not found offensive, and visitors to the Salons wept in front of his paintings. The intellectuals of the day were generally opposed to the rococo as a decadent style; rather paradoxically, Greuze's most influential champion was Denis Diderot, one of the leading philosophers of the Enlightenment, who hailed Greuze as "the painter of virtue, the rescuer of corrupted morality." The fashion for simplicity and the "natural man" penetrated the highest circles, and engravings of Greuze's work were popular with all classes of society.
In terms of style, Greuze has been linked to neoclassicism. The complexity of his compositions, however, and his interest in surface textures place him within the general stylistic pattern of his period. In his sensual paintings of girls (such as The Morning Prayer and The Milkmaid), with their veiled eroticism, pale colors, and soft tonality, his connection with the rococo is most evident. Some of Greuze's best work is to be seen in his portraits (for example, Étienne Jeaurat), which are often sensitive and direct.Greuze survived the French Revolution but his fame did not. He died in Paris on March 21, 1805, in poverty and obscurity.
1756 - 1812
Oil on canvas
Image size: 15 ¾ x 20 ½ inches
Original carved frame
Abraham Pether was an English landscape painter, recognised for his skill in depicting moonlit scenes. He was also a talented musician, inventor, mathematician and philosopher.Pether was a major exhibitor with both the Free Society of Artists and the Incorporated Society of Artists from 1773 to 1791, and at the Royal Academy from 1784 to 1811.
His "Harvest Moon", which was at the Academy in 1795, was highly praised at the time. He had an extensive knowledge of scientific subjects, and in his moonlight pictures the astronomical conditions are always correctly observed.
1717 - 1796
The Golden Pheasant
Oil on canvas
Image size: 28 x 36 inches
Original gilt frame
Elmer resided at Farnham, Surrey, where he was a maltster. He turned his hand to painting, and developed a special skill for depicting still life and dead game, and was perhaps the most successful painter in this line that England has produced. From that time to 1795, the year before his death, he contributed a great number of pictures, which were very popular, and were painted in a bold, free manner, and with great truth to nature.
He did not confine himself entirely to still life, but occasionally painted genre pictures, such as "The Miser" (engraved by B Granger), "The Politician" (engraved by T Ryder), scripture pieces, such as "The Last Supper", formerly over the altar, but now in the vestry of Farnham Church, and portraits.
Some of his still-life pictures were engraved by J. Scott, J. F. Miller, C. Turner, and others Elmer died and was buried at Farnham in 1790.
The latter were collected, and exhibited at the great room in the Haymarket in the spring of 1799, under the title of "Elmer"s Sportsman"s Exhibition". Some of these were disposed of for good prices, and the remainder were removed to Gerrard Street, Soho, where they were accidentally destroyed by fire on 6 February 1801.
He practised in Ireland, and occasionally exhibited at the Royal Academy between 1783 and 1799.
There is a small mezzotint portrait of him as a schoolboy, dated 26 June 1772, and engraved by Butler Clowes.
Size: Height 5 inches Diameter 12 inches
A large delftware punchbowl dated 1755, probably London, painted in blue to the exterior with a large continuous flower spray, the interior inscribed 'One Bowl More and Then 1755' within flower sprays and auspicious objects in bianco-sopra-bianco.
Please note - there is a 9cm hairline rim crack and a few other cracks to rim. Otherwise in extremely good condition.
Provenance: acquired from Sotheby's, 27th July 1982, lot 634, formerly in the collections of Louis L Lipski and F H Garner.
Illustrated: Louis L Lipski & Michael Archer, Dated English Delftware, p.272, no.1150.
Attributed to Dominic Serres RA
HMS Chatham off the coast of America
Oil on canvas
Image size: 39 ½ x 28 inches
The Chatham was a 50-gun two-decker (4th-rate), built at Portsmouth in 1758 (main deck 22 x 24 pounder, upper deck 22 x 12 pounder, quarterdeck 4 x 6 pounder, foclse 2 x 6 pounder).
The ship fought at the Battle of Quiberon Bay, 20 November 1759, and was in the East Indies in 1760-64. It then went to the Leeward Islands in 1766-69 as flagship of Thomas Pye, and was there again in 1772-75 as flagship of William Parry.
Chatham sailed from Plymouth on 20/21 October 1775 for North America under Captain J. Raynor as flagship of Molyneux Shuldham, who had been promoted from captain to Rear-Admiral of the White on 31 March, with orders to join Admiral Lord Howe, the British naval commander based at New York, in operations against the growing American rebellion. In that rank his ‘squadronal colour’ would have been a white St George flag worn on the mizzen mast, with matching white ensign, as shown in the painting.
The ship arrived in Nantasket Roads, Boston, on 30 December 1775. On 3 January 1776 it moved into Boston Harbour where it remained, or in the King Road there, or Nantasket Roads until 27/28 March. It then sailed in convoy for the British northern base of Halifax, Nova Scotia, where it arrived on 2 April. After remaining there until 9 June it sailed for New York and arrived at Sandy Hook on 29th, then anchored off Staten Island from 3 July until 17 September, when it moved up to New York.
The relevant records end in mid-October and are the logs of two of its lieutenants: Christopher Mason, the first lieutenant (later himself a Vice-Admiral of the White) and Robert Sutton.Rear-Admiral Shuldham was one of a tranche of flag-officers further promoted on 5 February 1776, in his group’s case from Rear-Admiral of the White to Vice-Admiral of the Blue: he was also granted an Irish barony in June 1776.
It is likely that he would have received news in America of his naval promotion by about the end of March or in early April 1776, after which he would have worn a plain blue flag on his foremast as appropriate to a Vice-Admiral of that squadron, and a blue ensign.This suggests that the painting ought to show Boston, as the apparent presence of transport ships with large numbers of men, and in a boat at centre (and many in red coats) may also suggest: i.e. troopers, since the log books show there was a great deal of rebel and other gunfire going on around there.
The Battle of Bunker Hill was fought (in fact on Breed’s Hill) just outside Boston in 1775. If it is Boston, however, it must be geographically compressed in some way as there is not a fortified island so close in on the left. Unfortunately, while the logs mention various other named naval vessels coming and going, they do not generally name merchantmen other than as ‘Transports’ and we have found no mention of a ‘Dutches[s] of Russia / Rumbria’ which is the other named (merchant) vessel. One would have to get into deeper archive research for any hope of that. The town is far too developed, however, and with too many churches to be Halifax NS so it must be intended as either Boston or New York, and by the time Shuldham arrived at the latter at the end of June 1776 he should have been flying blue at the fore, not white at the mizzen. So options are (1) Boston and (2, though less likely) New York but with the same caveat about the compressed topography.
The American Declaration of Independence was of course signed in Philadelphia on 4 July 1776, and was immediately published there as what is called the Larpent broadside (i.e. as an ephemeral sheet for distribution, Larpent – ). Some days later Shuldham, having arrived off New York on the 3rd, had one of his clerks copy it out and sent the MS copy back to the Admiralty in England by the first mail packet, with a covering note saying the ‘treasonable’ document –presumably in the Larpent or some other printed version - had just reached New York from Philadelphia. The National Maritime Museum has that clerk’s copy and Shuldham’s covering note in the Sandwich papers (Lord Sandwich being First Lord of the Admiralty at the time) and it is probably the first copy of the Declaration to reach London.
The Chatham lasted almost through the later Anglo-French wars of 1793-1815, on harbour service from about 1810 and renamed Tilbury, and was broken up at Chatham in 1814.Shuldham died when British naval commander at Lisbon, late in 1798. His coffined body was sent home for burial in the 74-gun Colossus, which called there when homeward bound carrying wounded from Nelson’s victory at the Nile (1 August 1798).
It was also, courtesy of Nelson, carrying back from Naples Sir William Hamilton’s second large collection of Etruscan and Greek antiquities, mainly classical vases. The ship was in poor condition and was wrecked on Samson in the Isles of Scilly after dragging its anchors there and Hamilton lamented that the initial salvage efforts were directed at recovering Shuldham’s body: this, he wrote, was ‘of no use but to worms, whereas my collection would have provided information for the most learned'.
We thank Dr Pieter van der Merwe MBE, DL for this fascinating information