Gawen Hamilton Sold at Auction Prices

Painter, b. 1698 - d. 1737

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    • GAWEN HAMILTON (NEAR HAMILTON, SCOTLAND 1697-1737 LONDON) Elegant figures p
      Sep. 14, 2021

      GAWEN HAMILTON (NEAR HAMILTON, SCOTLAND 1697-1737 LONDON) Elegant figures p

      Est: £5,000 - £8,000

      GAWEN HAMILTON (NEAR HAMILTON, SCOTLAND 1697-1737 LONDON) Elegant figures playing cards at a table in an interior, with an artist behind... oil on canvas 23 ¾ x 21 7/8 in. (60.5 x 55.3 cm.)

      Christie's
    • Elegant party with Greengrocer
      Nov. 24, 2012

      Elegant party with Greengrocer

      Est: €3,800 - €4,560

      Hamilton Gawen Hamilton 1698 - London 1737 Elegant party with Greengrocer attr. Oil/canvas, 63,5 x 75,5 cm, some rest., relined.

      Auktionshaus Stahl
    • GAWEN HAMILTON C.1697-1737
      Jun. 07, 2006

      GAWEN HAMILTON C.1697-1737

      Est: £30,000 - £50,000

      A FAMILY CONVERSATION PIECE measurements note 57 by 66 cm., 22½ by 26 in. oil on canvas PROVENANCE J. Andrews, London, from whom acquired by Dr Donovan; Sir Harry Stephen Thompson, Kirby Hall, Ouseburn, Yorkshire, 1866, by descent to his son, Sir Henry Meysey Meysey-Thompson (1845-1929), later Lord Knaresborough; Agnew, 1934; Paul Drey, New York, 1942; Arthur Tooth and Sons, Ltd., London, 1946; Sir Reginald Macdonald-Buchanan, 1953; M. Knoedler and Co., Inc., New York, from whom purchased by Walter P. Chrysler Jnr., May 1976, by whose estate sold, Sotheby's, New York, 1st June 1989, lot 27 EXHIBITED Yorkshire Fine Arts and Industrial Exhibition, 1866, no.454; Pittsburg, Pennsylvania, 1938; Montreal, Canada, 1942; Arthur Tooth and Sons, Recent Acquisitions, 22nd October-16th November 1946, no.11; The Chrysler Museum, Norfolk, May 1976 LITERATURE Austin Dobson, William Hogarth, 1879, pp.187-188; 1893, p.351; 1902, p.187; 1907, p.221; R.B. Beckett, William Hogarth: Catalogue of Paintings attributed to William Hogarth, 1947/48, Part 1, Group portraits under 'The Thornhill Family, *1' (as possibly by Gawen Hamilton in a handwritten correction in the author's hand); Illustrated London News, 19th October 1946, p.445; R.B. Beckett, 'Portraits of Hogarth's Family', The Connoisseur, September 1948, p.33; The Chrysler Museum Bulletin, 'English Portraits on View', Vol.5, no.9, September 1976 (as by William Hogarth of the Thornhill Family) NOTE This fine conversation piece dates from the early 1730s, a period which saw Hamilton producing a number of portraits which, at their best, can rival his contemporary, William Hogarth. The identity of the family remains uncertain. Traditionally they have been identified as Sir James Thornhill and his family, with his uncle and patron, Dr Sydenham. However, both the ages of the sitters and known portraits of members of the Thornhill family make this impossible. Several conversation pieces, formerly attributed to Hogarth, have been erroneously identified as the family of Sir James Thornhill, with whose daughter Hogarth had eloped in 1729. In the present case this identification was probably strengthened by the fact that the central seated figure is being shown an academic drawing, clearly a reference to his connoisseurship and his love of the arts. It has also been suggested that the picture may relate to Hamilton's portrait of John Wootton and his family of 1736. Gawen Hamilton was born in Hamilton in the west of Scotland, and settled in London in c.1726. His conversation pieces were greatly admired by George Vertue who wrote, on the artist's early death in 1737, that 'it was the opinion of many Artists....that he had some peculiar excellence wherein he outdid Mr Hogarth in Colouring and easy gracefull likeness". Amongst his important patrons were Thomas Wentworth, 1dt Earl of Strafford, and Edward Harley, 3rd Earl of Oxford. In 1734 he painted his famous Conversation of Virtuosis at the Kings Armes (National Portrait Gallery) which included many of the most celebrated artists of the time. The attribution to Hamilton for this portrait was first suggested by R.B. Beckett.

      Sotheby's
    • Gawen Hamilton (c.1697-1737)
      Jun. 16, 2005

      Gawen Hamilton (c.1697-1737)

      Est: £60,000 - £80,000

      Group portrait of the Porten family taking tea in a lavish interior, with a red velvet curtain in the foreground and a garden seen from an open door beyond oil on canvas 49 3/4 x 40 1/4 in. (126.4 x 102.2 cm.)

      Christie's
    • Gawen Hamilton (1697-1737)
      Nov. 30, 2001

      Gawen Hamilton (1697-1737)

      Est: $17,160 - $25,740

      Elegant figures playing cards at a table in an interior, with an artist behind the group oil on canvas 24 x 22 in. (61 x 56 cm.) in an 18th Century carved and gilded frame PROVENANCE Presumably Mr. Hammond of Colchester. Presumably the Reverend Charles Onley, Stisted Hall, Essex, by 1794, and by descent to Onley Savill-Onley. Presumably Onley Savill-Onley; Christie's, London, 16 June 1894, lot 56, as 'Hogarth' (60 gns. to Colnaghi). Oscar Bondy collection, Vienna, by 1929, as by Hogarth. LITERATURE Presumably the version recorded by the Gentleman's Magazine, 1794, LXIV, part II, pp.903-4, as at Stisted Hall, Essex and by Hogarth. Dr. E. Einberg and J. Egerton, Catalogue of the Tate Gallery Collections, The Age of Hogarth, British Painters born 1675-1709, 1988, p. 38, under no. 15, fig. 8. NOTES This picture shows two ladies and a gentleman playing cards at a table, while a butler and a page serve wine from a cooler on the left. In the background a painter, equipped with palette and followed by an assistant carrying what is presumably a folder of sketches, appears to be passing through the room, gesturing either towards a doorway or to the gentleman on the right. Three versions of this composition are known. The others, which are of the same format, are in the Tate Gallery (no. 00943; E. Einberg and J. Egerton, op.cit., no.15) and the Walker Art Gallery, Liverpool (E. Einberg and J. Egerton, p. 36, fig. 6). This composition differs slightly from the other versions in that a spaniel that appears in the other two, at the foot of the right hand sitter's dress, does not appear here. The very detailed description of the version at Stisted Hall, Essex, in the Gentleman's Magazine in 1794 ( op.cit. ), mentions the cat in the composition but makes no mention of a dog, which indicates that it is likely to be the present picture. The Walker Art Gallery version has an unbroken provenance going back to 1844 when F. Croix of Pall Mall sold it as 'The Thornhill Family' by Hogarth, claiming a tenuous Thornhill provenance for it. Since its first appearance in the 18th Century the composition has been associated with Hogarth, however, stylistically it is much closer to the work of the Scottish artist Gawen Hamilton who was one of Hogarth's chief rivals in 'conversation pieces'. The sitters on the right of the composition have traditionally been identified as the artist Sir James Thornhill (1675-1734) and his wife. Ralph Edwards in his Early Conversation Pictures (London, 1954, p.66) suggested that the artist in the background was a self-portrait by Hamilton on the basis of comparison with his self-portrait in his celebrated A Conversation of Virtuosis of 1735 in the National Portrait Gallery, London. More recently Elizabeth Einberg and Judy Egerton have suggested that the artist in the background of the picture could be Dietrich Ernst Andr‚, of Brunswick, who came to England in 1722 where he stayed until 1724. Andr‚ assisted Sir James Thornhill with the decorations of the Great Hall Greenwich and his appearance is well documented by a confident self-portrait at the Herzog Anton Ulrich Museum in Brunswick, Germany, and two others in the Kunsthalle, Hamburg (see Einberg and Egerton op.cit., p. 39). Andr‚ is also recorded by George Vertue as having married while in England and Einberg and Egerton have suggested that this may be a marriage portrait, showing Andr‚'s wife in the centre, which might explain the traditional identification of the right hand figures as Sir James and Lady Thornhill, Andre's closest associates in England. As Einberg and Egerton comment that the likenesses of the figures to the right of the composition are not incompatible with Richardson's drawing of Thornhill of 1733 (British Museum) and the anonymous portrait of Lady Thornhill (Nostell Priory). The painting which features above the chimney piece, representing an allegory of painting and sculpture, is the same in each version of the composition suggesting that the pictures may have been executed for members of the same family and what seems likely to be the original was sold at Christie's, 19 June 1987, as lot 50, as by 'P.B.'. Einberg and Egerton suggest that the picture is very close to Andr‚'s known work and that the monogram on the picture may be of Andr‚'s teacher, the decorative painter Justus Van Bentum with whom he worked and travelled for twelve years ( op.cit., p.39, fig.7).

      Christie's
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