CHARLES JERVAS (C. 1675-1739) Portrait of Thomas Carter (c. 1682-1763) and his wife Mary, née Claxton Oil on canvas, The portrait of Thomas is signed, dated, 1734, and inscribed ‘Dublin’ and ‘amicitiae ergo’ (‘for friendship’s sake’) and with extensive further inscriptions. Mary is housed in a frame made in about 1800 by Kearney’s, ‘Looking Glass Warehouse’, 49 Henry Street, Dublin, see label. Provenance: By direct descent within the family of the sitters Thomas Carter (the sitter) to his son; Henry Boyle Carter (b. c. 1722) at Castlemartin, County Kildare (High Sheriff of County Kildare in 1763) who married Susanna Shaen, to his son; Thomas Carter b. 1753 at Castlemartin, County Kildare, to his son; William Henry Carter (1783-1859), to his son; Thomas Shaen Carter (1813-1875) at Watlington Park, Oxfordshire; By descent within the Carter family to Duncan Maclachlan Carter-Campbell, 8th of Possil (b. 1911) to his daughter Mary Elizabeth Carter-Campbell (b. 1953) Exhibited (Thomas): The International Exhibition of Arts and Manufactures, Exhibition Palace, Dublin, 1865, lent by Thomas Shaen Carter (1813-1875) bears exhibition label; National Portrait Exhibition, London, 1867, lent by Thomas Shaen Carter (1813-1875) (no. 409), bears exhibition label Literature, Walter Strickland, A Dictionary of Irish Artists, 2 vols (Dublin and London, 1913) vol.1 p. 548; Peter Aronsson, Dictionary of Irish Biography, www.dib.ie, accessed 20 August 2024; Peter Aronsson, Oxford, Dictionary of National Biography, www.oxforddnb.com, accessed 20 August 2024 Melanie Hayes, The Best Address in Town, Henrietta Street, Dublin and its First Residents (Dublin, 2020) p. 50 and for 9 Henrietta Street pp. 50-59 Engraved, The portrait of Thomas was engraved in mezzotint by John Brooks (fl. 1730-1756). This print was reissued by Jefferys and Herbert (Strickland, Dictionary, Vol. 1, 110). Never previously offered on the open market, having been in the family of the sitters for a decade shy of three centuries, from 1734 until 2024, these portraits, by Charles Jervas, are iconic works of Georgian Ireland. Thomas Carter, was one of the most influential figures of eighteenth-century Dublin, a Member of Parliament, Master of the Rolls and architectural patron on a lavish scale. His wife, Mary, née Claxton, was the first cousin of Edward Lovett Pearce (1699-1733), the great architect of Dublin’s Parliament House and Bellamont Forest, County Cavan. The townhouse that Pearce designed for the couple, 9 Henrietta Street, has been described as ‘perhaps the most palatial residence’ on the famous street, itself ‘the best address’ in Dublin, with one of the most impressive stair halls in the city. ‘For more than three decades. This ambitious man held court there, establishing a prime position among parliamentary power brokers, social strategists and arbiters of taste’ (Melanie Hayes, The Best Address in Town, Henrietta Street, Dublin and its First Residents, 2020). Offaly-born, Charles Jervas meanwhile was the Principal Painter to the Monarch, a friend of Pope and Swift, and although London-based he painted this portrait in Dublin in 1734 as he proudly inscribes on the canvas next to his signature. Carter was born in Robertstown, County Meath, in the pivotal year 1690 and his life proceeded in parallel with the consolidation of the Williamite settlement of Ireland in all its complexity. His father, also Thomas, had performed ‘distinguished service’ for King William at the Boyne but the younger Thomas would adopt a stance as a Protestant patriot in the Dublin parliament which often set him in opposition to the Dublin Castle administration. Carter pursued an enormously successful and lucrative career at the Irish bar, before purchasing, for £11,000, the position of Master of the Rolls. In 1719 Carter married Mary Claxton, a daughter and heiress of Thomas Claxton and Lucy Pearce, making Mary, shown here, the first cousin of Edward Lovett Pearce. The year of his marriage Carter was elected for Trim, as a member of the parliament then sitting in Chichester House, Pearce’s great building on College Green would not be started for another decade. He later represented Hillsborough, County Down, between 1728-61. Other positions which Carter filled included Ranger of the Curragh, Governor of the Royal Hospital and Ranger of Dublin Castle while he was a leading figure in the passing of one of the early road acts. By 1745 Carter was characterised by Lord Chester field, the viceroy, as ‘the leading person in the [Irish] Parliament’ while the Earl of Shelburne described him as ‘a man of a very original character, whose uncommon sagacity and shrewdness as well as depth of understanding, would have distinguished and advanced him in any country’. Not everyone agreed and, it must be said that principled idealism was not an obvious path to success in the murky politics of mid-century Ireland. Carter was described by Horace Walpole as ‘an able and intriguing man’ with a ‘slender reputation for integrity’. (Walpole was also distinctly antipathetic towards Jervas who had been so much patronised by his father, the Prime Minister, Robert Walpole). More recently Melanie Hayes notes that Carter was ‘known for his tricky personality and propensity for making enemies’. Carter did however stand up for the rights of the Dublin parliament against Westminster when, in 1753, he ‘opposed the claim of the crown to dispose of unappropriated revenue in the Irish exchequer and engineered the defeat of this money bill’ (Oxford, DNB). For this he fell from royal favour and was dismissed from his position as Master of the Rolls in 1754. He was, however, compensated with the office of Principal Secretary of State, and Keeper of the Privy Seal, which brought an additional salary of £1,200 per annum. If Carter was too shrewd an operator to be excluded from power completely, he was ‘regarded by Dublin Castle as one who was most against English interests in Ireland’ (ibid). Carter’s great house at number 9 Henrietta Street is generally accepted as having been designed by Pearce and, while there is no documentary evidence to confirm this, his authorship is compellingly suggested by the sheer quality of the house and by Carter’s direct family connection’s to the architect. The house’s design clearly relates to No. 30 Old Burlington Street, London, designed, in 1721, by Lord Burlington (1694-1753) and Colen Campbell (1676- 1729), making a ‘tangible and tantalising’ connection between ‘the greatest figures in the Irish and English Palladian revival’ (Christine Casey, Dublin, 2005). Connections between the two houses can be traced via both patron and architect. Carter was politically very close to Henry (‘Speaker’) Boyle (1682-1764), later 1st Earl of Shannon (his neighbour at No. 11 Henrietta Street), who was a cousin of the ‘Architect-Earl’, while Burlington’s client at 30 Old Burlington Street was Algernon Coote (1689-1744), Earl of Mountrath, whose cousin, Thomas Coote of Cootehill (c. 1655 -1741), was Pearce’s uncle for whom he built Bellamont Forest, his Palladian masterpiece in County Cavan. For good measure, and illustrating how tightly-knit was this circle, Charles Jervas painted portraits of Algernon Coote and his wife Diana. Friends of Jervas and cousins of Pearce, the Carters, husband and wife, sat at the heart of a key nexus of architectural and artistic patronage at the crucial moment in the 1730s when the confidence of Georgian Ireland was at its height, as best expressed in the extraordinary – if arguably hubristic – palazzi that the new elite, political, legal and ecclesiastical, built for themselves on Henrietta Street. Carter was a founding member of the Dublin Society and was a keen agricultural improver, ‘He imported the best breeds of cattle and built several mills for grinding corn’ (ibid). In addition to the 4,000 acres he inherited near Trim – and extensive estates in County Roscommon – in 1729 Carter took a lease on Castlemartin in County Kildare, which remained in his family until the end of the century. But it is Pearce’s extraordinary building at No 9 Henrietta Street that stands as ‘a very visible manifestation of [Carter’s] wealth and success, and provided the perfect setting in which to pursue his schemes for success’ (Hayes, op cit.). Carter died in his son’s residence Rathnally House, County Meath on 3 September 1763 and is buried in St Patrick’s Cathedral, Trim. No. 9 Henrietta Street is now owned by the Daughters of Charity. Despite his seemingly prickly character, Carter clearly enjoyed a warm friendship with the artist Charles Jervas, a friendship commemorated in his portrait. The portrait of Thomas, is signed (Jervas signs his work exceptionally rarely) and is dated 1734. It is further inscribed as having been painted in Dublin, rare evidence of the London-based artist’s practice of painting on his not infrequent visits home. An obvious place for Jervas to have set up his temporary studio was in his client and friend’s house in Henrietta Street. For this was a special commission and the portrait of Thomas is further inscribed by Jervas ‘amicitiae ergo’ for the sake of friendship attesting to the close relationship between artist and the sitters. The portrait of Thomas is likely to have been completed first, no doubt to hang in Henrietta Street. It was engraved by John Brooks. Carter is shown in his law library surround by the volumes of precedent. The portrait of Mary by contrast shows her in a sylvan setting gesturing to her husband. Jervas portrays his friend as a genial figure suggesting another side of his character to the scheming lawyer on the make; Francis Plowden describes Carter ‘keeping the table in a roar of laughter by his archness, vivacity and wit’. Charles Jervas was the most successful Irish-born artist of the first half of the eighteenth century and among the first Irish artist to study in Italy. He was born in, or about, 1675 in Shinrone, King County (Offaly) and is recorded in 1697-98 in the letters of administration for the estate of his father who had died at Cape May in America as ‘Charles Jervas, of the City of Dublin, Gent’. He studied in London under Sir Godfrey Kneller (1645-1723), with whom he lived for a year, and in 1694 he made copies of the Raphael Cartoons at Hampton Court. With the support of patrons including Dr George Clarke of All Souls College, Oxford (who bought some paintings and lent him funds) he travelled to Italy, via Paris, in 1699. Jervas stayed in Rome (where he was known as Carlo Jervassi) for about ten years, copying old masters and improving his drawing skills. On his return to London in 1708/9 he commenced on his successful career as a portrait painter, marrying a wealthy widow, Penelope Hume. His studio in Cleveland Court, St. James’s and house at Hampton in Middlesex became centres of the London literary world. Among his friends and sitters were Jo seph Addison (1672-1719) and Alexander Pope (1688- 1744) (whom he taught to paint and who eulogised him in verse), along with Isaac Newton (1642-1727). Of particular, note, too, is his series of portraits of Jonathan Swift (1667-1745) who sat for him several times between 1709 and 1716. Moving in such circles, it is not surprising that Jervas developed literary pretensions himself, and he translated Don Quixote, though this was not published until 1742, after his death. Jervas revisited Ireland on several occasions. He is recorded here in 1716, staying with Swift in St Patrick’s Deanery, and again for a lengthy period at the end of the decade, once more a guest of Swift and, in addition to producing a translation of Niccolò Machiavelli (1469- 1527), on this visit, he was certainly painting portraits, including one of William King (1650-1729) Archbishop of Dublin. Further visits occurred in 1729 and 1734 where he signed this portrait of Carter. Among his other Irish sitters were William ‘Speaker’ Conolly (1662-1729), and John Boyle, later 5th earl of Cork (1707-62) (Swift’s friend) and members of the Cosby family of Stradbally. Jervas also maintained an estate in Ireland. In 1723, on the death of Kneller, Jervas was appointed Principal Painter to George I, a position he retained under his successor. He visited Italy again in 1738, possibly to acquire works of art for the crown but also ‘in hope of some reprieve from asthma’ and died shortly after his return. His large collection of paintings was sold by auction in March 1740. Thomas Carter, shown in this friendship portrait, acted as the executor of Jervas’s will. Adam’s are very grateful to Peter Aronsson and Melanie Hayes whose published researches on Thomas Carter and 9 Henrietta Street inform this note.
ATTRIBUTED TO CHARLES JERVAS (DUBLIN C. 1675-1739 LONDON) Portrait of Viscountess Blundell, née Mary Chetwynd (1680-1756), half-length,... oil on canvas 30 ¼ x 25 ¼ in. (77 x 64 cm.)
CHARLES JERVAS (DUBLIN C. 1675-1739 LONDON) Portrait of Lady Judith Trumbull (1681-1742), three-quarter-length, in a gold... oil on canvas, unlined 49 ½ x 40 ¼ in. (125.7 x 102.3 cm.)
ATTRIBUTED TO CHARLES JERVAS (DUBLIN C. 1675-1739 LONDON) Portrait of Montague Blundell, 1st Viscount Blundell (1689-1756),... oil on canvas, unlined 49 3⁄8 x 39 in. (125.5 x 99.1 cm.)
ATTRIBUTED TO CHARLES JERVAS (C.1675 - 1739) Portrait of a Lady of the Townley-Balfour Family, of Townley Hall Oval, oil on canvas, 33 x 43cm Inscription verso: Miss Lucy Balfour married to Blayney Townley Esq. mother to Vincentia Townley who was married to Brabazon Esq. of Rath but then of Kilruddery 1730
Label verso "Charles Jervas" (English, c. 1675-1739) appears to be unsigned. Some losses, craquelure, restorations. Sight size; 35-1/2"h x 27-1/2"w Overall: 41-1/2"h x 33-3/4"w
Circle of Charles Jervas (Irish, circa 1675-1739) Portrait of Henrietta Pelham-Holles, Duchess of Newcastle-upon-Tyne three-quarter-length, in a white dress bears inscription 'Duchess. of Newcastle' (lower left) oil on canvas 127.1 x 101.2cm (50 1/16 x 39 13/16in).
Circle of Charles Jervas (Irish, circa 1675-1739) Portrait of Thomas Pelham-Holles, 1st Duke of Newcastle-under-Lyne, three-quarter-length, in the Order of the Garter oil on canvas 126.8 x 103.4cm (49 15/16 x 40 11/16in).
Circle of Charles Jervas (Irish, circa 1675-1739) Portrait of a young Robert Walpole, half-length, in a brown coat oil on canvas 74.2 x 58.2cm (29 3/16 x 22 15/16in).
Follower of Charles Jervas (Irish, circa 1675-1739) Portrait of Charles, 2nd Viscount Townshend, bust-length, wearing Garter robes; and Portrait of his wife, Viscountess Townshend (nee Dorothy Walpole) a pair, oil on canvas 79.1 x 66.2cm (31 1/8 x 26 1/16in). (2)
Charles Jervas (1675-1739). A Large Early 18th Century Oil on Canvas: Three-quarter length Portrait of a Lady Lucy Montagu who married Francis North to become Lady Lucy North, the first Countess of Guildford. The subject wearing a white satin dress, sat in landscape holding a basket of fruit & flowers, 56'' x 47'' (142 cm x 119 cm). Set in a granular gilt frame 63½'' x 54½'' (161 cm x 138 cm).
CHARLES JERVAS England/Ireland, circa 1675-1739 "Lady Abdy". Possibly Theodosia Bramston Abdy (1697-1732). To be added to the Jervas catalogue raisonné under the direction of Caroline Pegum.
Circle of Charles Jervas (Dublin circa 1675-1739 London) Portrait of a child holding a bunch of cherries and seated beside a spaniel oil on canvas 92 x 71cm (36 1/4 x 27 15/16in). For further information on this lot please visit the Bonhams website
ATTRIBUTED TO CHARLES JERVAS (1675-1739) Portrait of Colonel Smith, in Armour Suit Oil on canvas, 76 x 54cm Born in Clonlisk, Co. Offaly around 1675, the son of John Jervas and Elizabeth, daughter of Captain John Baldwin of Shinrone Castle, High Sheriff of County Offaly. Jervas studied in London as an assistant under Sir Godfrey Kneller between 1694 and 1695. Strickland notes that after selling a series of small copies of the Raphael Cartoons c.1698 to Dr. George Clarke of All Souls College, Oxford, the following year he travelled to Paris and Rome remaining there for most of the decade before returning to London in 1709 where he developed a successful practice as a portrait painter. About 1715 he paid a visit to Ireland and remained there for a year or so. During this time he painted a number of portraits, including Jonathan Swift. Painting portraits of the city's intellectuals, Charles Jervas became a popular artist often referred to in the works of literary figures of the period. With his growing reputation, Jervas succeeded Kneller as Principal Painter in Ordinary to King George I in 1723, and continued to live in London until his death in 1739.
Charles Jervas (British c.1675-1739)Portrait of General Tyrrell Oil on canvasWith later inscription General Tyrrell/Jervais (sic) Pinx. (lower left) 125 x 99cm (49 x 38¾ in.)
Circle Of Charles Jervas (Irish c. 1675-1739)Portrait of the Rev. Thomas Sharpe D.D, Archdeacon of NorthumberlandOil on canvas, feigned ovalInscribed as titled (on the reverse)73.5 x 61cm (28¾ x 24 in.)
ATTRIBUTED TO CHARLES JERVAS (1675-1739) Portrait of a Gentleman Oil on canvas, 75 x 63cm Provenance: Collection of the Peck Family, Prehen House, Derry
* After Charles Jervas (1675-1739). Jonathan Swift, circa 1825-50, pen, ink and opaque watercolour on thin ivory, after the oil portrait by Charles Jervas of circa 1718, now in the National Portrait Gallery, depicting Jonathan Swift, Dean of St. Patrick's Dublin, dressed in robes and clerical collar, 86 x 69 mm (3.4 x 2.75 ins), period black and gilt frame, glazed Qty: (1)
attributed to CHARLES JERVAS (British 1675-1739) A PAINTING, "Portrait of a Young Lady with Silver Belt in Blue Silk," CIRCA 1730, oil on canvas, the adolescent with short curled hair looks out, painted in 3/4 length with blue eyes, holding white flowers of Bethlehem, her unadorned raw blue silk overcoat and linen undercoat are clasped by faceted sterling silver hexagonal dress clips, at her waist a silver-gilt couched belt with tied end; a burning orange atmospheric landscape shades the background. 28 3/4" x 23"
Attributed to Charles Jervas (Irish, 1675-1739) The Honorable Charles Gordon oil on canvas 29 3/4 x 24 3/4 inches. Provenance: Marshall Field & Co., Chicago, 1975 Property from the Estate of Robert Hillebrand, Chicago, Illinois
Attributed to Charles Jervas (Irish, 1675-1739) The Honorable Charles Gordon oil on canvas 29 3/4 x 24 3/4 inches. Provenance: Marshall Field & Co., Chicago, 1975 Property from the Estate of Robert Hillebrand, Chicago, Illinois
Manner of Charles Jervas (Irish, 1670-1739) Portrait of Henry Willoughby Esq. Oil on canvas 30 x 25 inches (76.2 x 63.5 cm) PROPERTY OF THE ESTATE OF RANDALL J. MOSKOVITZ, MD, MEMPHIS, TENNESEE HID01801242017
ATTRIBUé à CHARLES JERVAS (1675-1739) MUSICIENNES DANS UN SOUS-BOIS Attr. to C. Jervas, Musician women in the undergrowth, canvas 35 7/8 x 29 7/8 in. 1 000 €1,000-1,500 Né en Irlande, Jervas fut l'assistant de Godfrey Kneller à Londres à la fin du XVIIème siècle. Après un voyage en Italie, il succéda à son maître comme peintre du roi Georges Ier. Notre tableau montre l'influence de la peinture française contemporaine, celle de Watteau ou Lancret, introduite à Londres par Philippe Mercier, mais dans un sens de relation entre les personnages qui est celui typiquement anglais de la "conversation piece". ATTRIBUE A CHARLES JERVAS (1675-1739) MUSICIENNES DANS UN SOUS-BOIS Toile Restaurations anciennes et griffures 91 x 76 cm
Charles Jervas (Dublin c. 1675-1739 London) Portrait of Lady Elizabeth Egerton, Countess of Bridgewater (1687-1714),... oil on canvas 47 5/8 x 37 5/8 in. (121 x 95.5 cm.)
Attribué à Charles JERVAS (1675-1739) Musiciennes dans un sous-bois Attr. to C. Jervas, Musicians in a undergrowth, canvas. 35 7/8 X 29 7/8 IN. €2,000-3,000 Né en Irlande, Jervas fut l'assistant de Godfrey Kneller à Londres à la fin du XVIIème siècle. Après un voyage en Italie, il succéda à son maître comme peintre du roi Georges Ier. Notre tableau montre l'influence de la peinture française contemporaine, celle de Watteau ou Lancret, introduite à Londres par Philippe Mercier, mais dans un sens de relation entre les personnages qui est celui typiquement anglais de la "conversation piece". ATTRIBUE A CHARLES JERVAS (1675-1739) MUSICIENNES DANS UN SOUS-BOIS TOILE Restaurations anciennes et griffures 91 X 76 CM
English School 18th Century Portrait of Charles Jarvis Oil on canvas 30 x 25 inches (76.2 x 63.5 cm) Note: The "Charles Jarvis" identified on the label on the frame of this work is not the Irish portraitist also known as Charles Jervas, who died in 1739. Based on the style of the wig, this portrait appears to represent a young man of the 1750s. We are grateful to Caroline Pegum of the National Portrait Gallery, London, for this information. C
After Charles Jervas (Irish, 1675 - 1739), "Portrait of Katherine Hoskins, Duchesse of Devonshire (1698- 1777), dressed as Saint Catherine", unsigned, currently no artist information, oil on canvas, depicts the Duchesse as a young woman, draped in blue silk and holding plumed quill, framed, loss to frame, wear consistent with age and use including craquelure, scattered loss in UR corner and to edges where canvas meets frame, distinct hairline crack near shoulder, ss: 49" h. x 39" w. [PROVENANCE: Acquired by a couple in Manchester, CT, circa 1968, who corresponded with Robin Gibson of the National Portrait Gallery, London to acquire identification of sitter and attribution of artist (Gibson identified the artist as most likely Charles Jervas), the work was later consigned June 13th, 1991 at Sotheby's, NY and described as "Charles Jervas; Portrait of a Lady as St. Catherine, etc", the painting did not sell and was gifted to the Hartford Art School Inc. on December 22nd, 1998, with a copy of a 1991 auction estimate from Sotheby's, where it was stored in archives for twenty years until being consigned for auction at Winter Associates in 2018 to further the mission of the Hartford Art School.]
AFTER CHARLES JERVAS (IRISH, 1675-1739) PORTRAIT OF KATHERINE HOSKINS, DUCHESS OF DEVONSHIRE AS ST. KATHARINE Oil on canvas: 46 1/2 x 38 in. Framed Provenance: Swan Tavern Antiques, Yorktown; purchased as "Unknown Lady," attributed to Philip Mercier; purchased by the present owners, Woodland Estate, Petersburg, Va.
Charles Jervas (1675 - 1739). An Oil on Canvas Three-quarter length Portrait of Harriet Pelham Holles: Duchess of Newcastle, wearing a white satin dress stood in a landscape holding a posy with inscription and crest below, 50 ins x 40 in (127 cm x 101.5 cm). Contained in a gilt frame 55 in x 45 ins (140 cm x 114 cm).
PORTRAIT BY CHARLES JERVAS (ENGLISH, 1675-1739). Oil on canvas, bearing a name plate to the frame with the artist's name and "PROV: J. P. MORGAN". Woman wearing a white bonnet. 25"h. 20"w. Framed 32"h. 27"w.
Attributed to Charles Jervas (1675-1739). An Early 18th Century Oil on Canvas: Three quarter length portrait of an attractive young lady with bejewelled crimson dress stood aside an orange tree holding a sprig of blossom, 49 x 39 in (125 cm x 99 cm). Contained in a moulded ebonized frame 53 x 43 in (135 cm x 109 cm).
CERVANTES SAAVEDRA, Miguel de (1547-1616) & Charles JERVAS (1675-1739, translator). The Life and Exploits of the Ingenious Gentleman Don Quixote de la Mancha. Translated from the Original Spanish ... by Charles Jarvis[sic] ... The Third Edition. London: Printed for J. And R. Tonson , S. Draper and R. And J. Dodsley, 1756. 2 volumes, 4to (297 x 230mm). 69 engraved plates by Gerard van der Gucht after John Vanderbank (a few small rust holes, occasional light spotting and staining). Contemporary mottled calf, the spines gilt in compartments with green and black morocco lettering-pieces (joints split, rubbed). Cf. Lowndes II, 401. This English translation of Cervantesâ magnum opus was first published in 1742; a printerâs error, surviving into the present third edition, led to it being known as âThe Jarvis translation.â (2)
CHARLES JERVAS (DUBLIN C. 1675-1739 LONDON) Portrait of Oliver Cromwell (1599-1658), Lord Protector of England, full-length, in armour, a seascape with men-o’-war beyond signed and dated ‘Charles Jarvis fecit / 1736’ (centre right) oil on canvas 94 1/8 x 58 1/8 in. (239.2 x 147.8 cm.) inscribed ‘Oliver Cromwell / OLIVER CROMWELL’ (centre right, on the column) and with coat-of-arms and motto ‘PAXáQVAERIVRáBELLOá1658á’ (upper right)
ATTRIBUTED. TO CHARLES JERVAS (IRISH, 1675-1739), OIL ON CANVAS, H 50", W 39", "SHEPHERDESS OF COUNTY GALWAY":Attributed to Charles Jervas. Shepherdess wearing country dress and holding a staff alongside a lamb. Frame size 62" x 52".
ATT. TO CHARLES JERVAS (IRISH, 1675-1739), OIL ON CANVAS, H 50", W 39", "SHEPHERDESS OF COUNTY GALWAY":Attributed to Charles Jervas. Shepherdess wearing country dress and holding a staff alongside a lamb. Frame size 62" x 52".
CHARLES JERVAS (BORN CIRCA 1675-1739), IRISHGENERAL TYRRELL (IN ARMOUR WITH BLUE WAISTCOAT STANDING IN THE FIELD WITH A BATTLE SCENE BEYOND)Oil on canvas; signed “Jervais pinx” and titled “General Tyrrell” lower left50" x 40" — 127 x 101.6 cm.Provenance:With Appleby Bros., London, Cat. No. 205, inscribed pen and ink to label further inscribed “C & R” verso; Private Collection, Ontario acquired in London, EnglandNote:The brothers Arthur and Richard Appleby traded in British drawings and watercolours from 27 William IV Street, Trafalgar Square, London. The Appleby family sold large collections of British material which collectors of the day used to trawl through. In 2010 and 2011, Christie’s sold in a series of sales, the remaining collection of old master paintings, watercolours and topographical drawings held by the companyEstimate: $10,000—15,000
![CERVANTES SAAVEDRA, Miguel de (1547-1616) & Charles JERVAS (1675-1739, translator). The Life and Exploits of the Ingenious Gentleman Don Quixote de la Mancha. Translated from the Original Spanish ... by Charles Jarvis[sic] ... The Third Edition. London: Printed for J. And R. Tonson , S. Draper and R. And J. Dodsley, 1756. 2 volumes, 4to (297 x 230mm). 69 engraved plates by Gerard van der Gucht after John Vanderbank (a few small rust holes, occasional light spotting and staining). Contemporary mottled calf, the spines gilt in compartments with green and black morocco lettering-pieces (joints split, rubbed). Cf. Lowndes II, 401. This English translation of Cervantesâ magnum opus was first published in 1742; a printerâs error, surviving into the present third edition, led to it being known as âThe Jarvis translation.â (2)](https://stageimg.invaluable.com/housePhotos/chiswick/00/606400/H3383-L117683679.jpg)
