John Thomas Smith (1766 London - 1833 ibid.) after William Mulready (born 1786 ): Le dernier venu, pupils with their teacher, c. 1860, Steel engraving Technique: Steel engraving on Paper Date: c. 1860 Description: William Mulready (1786-1863), painter, John Thomas Smith, also called Antiquity Smith (1766-1833), engraver, Published by H. Mandeville Paris. Le dernier venu. Signed and inscribed. Keywords: Interior, Children, Bow, 19th century, Romanticism, People, France,
(1766 London 1833). 6 Blatt mit Landschaften. Radierungen, ca. 1795. Qu.16°-Qu.8°. 3 Bl. mit dem Namenszug u. Datum i.d. Platte, tls. mit dem Titel unter d. Darst. 3 Bl. an 3 Seiten auf Darst., unt. auf Titel, die übrigen 3 auf Darst. geschn. Jwls. unter Passep. mont. Near Tottenham Middx. - The entrance of Stroud a village near Egham Surry. - Near Edmonton Middx. R
(1766 London 1833). Häuser u. Schuppen in der Landschaft. 8 Radierungen, aus: A Collection of Original Etchings bei John McCreery, London 1816. Blgr. zw. 8,8 x 14,7 u. 9 x 14 cm. cm. An den Ecken auf Papier mont. - Ecken tls leimspurig. R
John Thomas Smith (1766 London - 1833 ibid.): Depiction of the Painted Chamber in the medieval Palace of Westminster in 1800, 1807, Lithography Technique: Lithography on Paper Stamp: Verso Rolf Armin Winkler. Date: 1807 Description: In his 1807 work Antiquities of Westminster, John Thomas Smith presents the architectural monuments of the London district of Westminster and provides a large number of illustrations to accompany them. In the flow of reading, two almost identical depictions of the Painted Chamber of the medieval Palace of Westminster stand out, printed almost directly one after the other. Although this state room in the royal palace with its rich painting was always considered particularly noteworthy, both depictions merely show the sober architecture of the room and, according to the accompanying text, rather bear witness to the old tapestry before it was taken down. The question as to the reason for the duplication is answered in an almost humorous way by the accompanying text. After a brief excursus on the well-known printing processes of copperplate engraving and woodcut, Smith also discusses the technique of lithography, invented only a few years earlier by Alois Senefelder. He then anecdotally recounts his own first experiences with lithographic printing to illustrate his book. After listing the advantages of the new technique, among which he emphasises the almost loss-free printing of long runs, he also writes about the dark side of the technique. When his printers left the bales of ink on the stone overnight, they dried on the surface and could only be removed the next morning with considerable loss of the stone surface. Smith therefore points out that only the first 300 copies of his art guide to Westminster could have been provided with the original lithograph. After that, the illustration had to be replaced by an etching, which can be recognised in particular by the two persons added later. The present representation of the Painted Chamber is an exciting testimony to the early days of lithography in England and its use for book illustration. It is not without reason that R. Arnim Winkler, the author of the standard work "Die Frühzeit der deutschen Lithographie" (The Early Period of German Lithography), included this print in his collection, as it also provides insight into the technical aspects of dealing with the young medium. Provenance: Keywords: England, Westminster, palace, interior, lithograph, lithograph, incunabulum, 19th century, Romanticism, Architecture, United Kingdom,
John Thomas Smith (1766 London - 1833 ibid.) after William Mulready (born 1786 ): Le dernier venu, pupils with their teacher, c. 1860, Steel engraving Technique: Steel engraving on Paper Date: c. 1860 Description: William Mulready (1786-1863), painter, John Thomas Smith, also called Antiquity Smith (1766-1833), engraver, Published by H. Mandeville Paris. Le dernier venu. Signed and inscribed. Keywords: Interior, Children, Bow, 19th century, Romanticism, People, France,
(1766 London 1833). Häuser u. Schuppen in der Landschaft. 8 Radierungen, aus: A Collection of Original Etchings bei John McCreery, London 1816. Blgr. zw. 8,8 x 14,7 u. 9 x 14 cm. cm. An den Ecken auf Papier mont. - Ecken tls leimspurig.
John Thomas Smith (1766 London - 1833 ibid.): Depiction of the Painted Chamber in the medieval Palace of Westminster in 1800, 1807, Lithography Technique: Lithography on Paper Inscription: Collection stamp "RAWINKLER" on verso (not in Lugt). Date: 1807 Description: In his 1807 work Antiquities of Westminster, John Thomas Smith presents the architectural monuments of the London district of Westminster and provides them with a large number of illustrations. In the flow of reading, two almost identical depictions of the Painted Chamber of the medieval Palace of Westminster stand out, printed almost directly one after the other. Although this state room in the royal palace with its rich painting was always considered particularly noteworthy, both depictions merely show the sober architecture of the room and, according to the accompanying text, rather bear witness to the old tapestry before it was taken down. The question of the reason for the duplication is answered in an almost humorous way by the accompanying text. After a brief excursus on the well-known printing processes of copperplate engraving and woodcut, Smith also discusses the technique of lithography, invented only a few years earlier by Alois Senefelder. He then anecdotally recounts his own first experiences with lithographic printing to illustrate his book. After listing the advantages of the new technique, among which he emphasises the almost loss-free printing of long runs, he also writes about the dark side of the technique. When his printers left the bales of ink on the stone overnight, they dried on the surface and could only be removed the next morning with considerable loss of the stone surface. Smith therefore points out that only the first 300 copies of his art guide to Westminster could have been provided with the original lithograph. After that, the illustration had to be replaced by an etching, which can be recognised in particular by the two persons added later. The present representation of the Painted Chamber is an exciting testimony to the early days of lithography in England and its use for book illustration. It is not without reason that R. Arnim Winkler, the author of the standard work "Die Frühzeit der deutschen Lithographie" (The Early Period of German Lithography), included this print in his collection, as it also provides insight into the technical aspects of dealing with the young medium. Provenance: R. Arnim Winkler Literature: ;. Keywords: England, Westminster, palace, interior, lithograph, lithograph, incunabulum, 19th century, Romanticism, Architecture, United Kingdom,
John Thomas Smith (1766 London - 1833 ibid.) after William Mulready (born 1786 ): Le dernier venu, pupils with their teacher, c. 1860, Steel engraving Technique: Steel engraving on Paper Date: c. 1860 Description: William Mulready (1786-1863), painter, John Thomas Smith, also called Antiquity Smith (1766-1833), engraver, Published by H. Mandeville Paris. Le dernier venu. Signed and inscribed. Keywords: Interior, Children, Bow, 19th century, Romanticism, People, France,
(1766 London 1833). 6 Bl. mit Landschaften. Radierungen, ca. 1795. Qu.16°-Qu.8°. 3 Bl. mit dem Namenszug u. Datum i.d. Platte, tls. mit dem Titel unter d. Darst. 3 Bl. an 3 Seiten auf Darst., unt. auf Titel, die übrigen 3 auf Darst. geschn. Jwls. unter Passep. mont. Near Tottenham Middx. - The entrance of Stroud a village near Egham Surry. - Near Edmonton Middx. R
Lot Of 3 Sacred Architecture Etchings Drawn & Etched 1797 By J.T Smith. Measure 19" X 16" Overall .Please carefully read our terms of sale, shipping information, and request any condition reports or photos prior to placing a bid. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. RBFineArts CFL INC. shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Please email for a condition report and photos, if desired. Emails should be received at least 48 hours in advance of the date of the auction.
John Thomas SMITH. Lot of four etchings.1766-1833 1) Cottage with a steaming fireplace. Acquaforte di 56x81 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Picnic in the countryside Acquaforte di 59x91 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 3) Near Tottenham Midd. Acquaforte di 58x89 mm. In alto sulla lastra: "Drawn & Etch'd by J. T. Smith, Engraver of the Antiquities of London & Environs." Applicata agli angoli su cartoncino. Bell’esemplare. 4) Near Edmonton Midd. Acquaforte di 59x90 mm. In alto a sx sulla lastra: "Drawn & Etch'd by J. T. Smith, Engraver of the Antiquities of London & Environs." Applicata agli angoli su cartoncino. Bell’esemplare.
John Thomas SMITH. Lot of three etchings. 1793.1766-1833 1) Figure by the Cottage in Forest. Acquaforte di 80x131 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Cottage in a clearing Acquaforte di 84x134 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 3) Country Inn by the Pond Acquaforte di 80x136 mm. Applicata agli angoli su cartoncino. Bell’esemplare.
John Thomas SMITH1766-1833 Near Mill Hill Gravesend. 1793. Acquaforte di 132x170 mm. Firmato sulla lastra in alto a sx: Drawn & etch’d by J. T. Smith Engraver of the Antiquities of London & Environs. In alto sulla lastra; J T S 1793. Titolo al margine inferiore al centro e luogo di pubblicazione ed editore: Near Mill Hill Gravesend, Pub.d Aug. 1 1793 by N. Smith Rembrandt’s head. May’s Buildings St. Martius Lane. Incisione applicata agli angoli su cartoncino. Bell’esemplare. Bella incisione con un casolare e una donna che si affaccia appoggiata ad un cancelletto. In lontananza, su una collinetta, spunta un mulino a vento.
John Thomas SMITH1766-1833 Near Mrs. Teshmaker’s Edmonton. 1793. Acquaforte di 130x162 mm. Firmato sulla lastra in alto a sx: Drawn & etch’d by J. T. Smith Engraver of the Antiquities of London & Environs. In alto sulla lastra; J T S 1793. Titolo al margine inferiore al centro e luogo di pubblicazione ed editore: Near Mrs. Teshmaker’s Edmonton, Pub.d Aug. 1 1793 by N. Smith Rembrandt’s head. May’s Buildings St. Martius Lane. Incisione applicata agli angoli su cartoncino. Bell’esemplare. Bella incisione che raffigura una casa colonica al centro con il fumo che sale dal camino. Un uomo è seduto su un tronco in primo piano a destra con una sega in grembo mentre alberi e vegetazione riempiono il resto dell’incisione.
John Thomas SMITH. Lot of three etchings.1766-1833 1) Florest glen. Acquaforte di 92x89 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Islet in the middle of the pond with man and boat. Acquaforte di 86x61 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 3) Man with cane and cottage. Acquaforte di 80x102 mm. Firmata in alto a sx sulla lastra: “J T S fe.t.” Applicata agli angoli su cartoncino. Bell’esemplare.
John Thomas SMITH. Lot of three etchings.1766-1833 1) Path in a forest. Acquaforte di 80x136 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Conversation Outside the English Country Cottage. Acquaforte di 85x133 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 3) Fisherman near a Cottage. Acquaforte di 80x136 mm. Applicata agli angoli su cartoncino. Bell’esemplare.
John Thomas SMITH. Lot of two etchings.1766-1833 1) Trees at the Edge of a Pond Acquaforte di 92x88 mm. Applicata agli angoli su cartoncino. Bell’esemplare. 2) Woman collects wood Acquaforte di 130x110 mm. Firmata in alto sulla lastra: J T S fec.t. Applicata agli angoli su cartoncino. Bell’esemplare.
John Thomas SMITH1766-1833 The entrance of Stroud a village near Egham Surry.1793. Acquaforte di 130x165 mm. Firmato sulla lastra in alto a sx: Drawn & etch’d by J. T. Smith Engraver of the Antiquities of London & Environs. Titolo al margine inferiore al centro e luogo di pubblicazione ed editore: The entrance of Stroud a village near Egham Surry, Pub.d Nov. R 28 1793 by N. Smith Rembrandt’s head. May’s Buildings St. Martius Lane. Incisione applicata agli angoli su cartoncino. Bell’esemplare. Vista rurale in una foresta, con una casetta a sinistra lungo un sentiero centrale e una figura che cammina lungo il sentiero portando tronchi sulla schiena, mentre tutto attorno tutto è invaso da grandi alberi.
John Thomas SMITH1766-1833 Near Egham Surry. 1793. Acquaforte di 130x165 mm. Firmato sulla lastra in alto a dx: Drawn & etch’d by J. T. Smith Engraver of the Antiquities of London & Environs. Titolo al margine inferiore al centro e luogo di pubblicazione ed editore: Near Egham Surry, Pub.d Nov. R 28 1793 by N. Smith Rembrandt’s head. May’s Buildings St. Martius Lane. Incisione applicata agli angoli su cartoncino. Bell’esemplare. Vista rurale con una fattoria in mezzo, il giardino recintato a sinistra, alberi dietro la casa, cespugli in basso a destra.
SMITH, John Thomas (1766-1833). Antiquities of London and Environs. London: T. Sewell and others, 1791. Small folio (336 x 233 mm). Engraved title-page, 96 engraved plates (3 with borders and accents printed in brown). (Some spotting or staining.) Early 19th-century straight-grained morocco gilt (some rubbing and wear, lower cover detached). FIRST EDITION, with plates depicting architectural views and monuments in London.
John Thomas Smith XIX, Oil on board (by Reeves & Son (1830-1890)), Mallard over wetland marsh, Signed lower right, art suppliers stamped verso, 15 x 19 3/4''
Wildfowling: John Thomas Smith XIX, Oil on board by Reeves & Son (1830-1890), Mallard over wetland marsh, Signed lower right, art suppliers stamped verso, 15 x 19 3/4''
SMITH, John Thomas (1766-1833). Vagabondiana; or, Anecdotes of Mendicant Wanderers Through the Streets of London; with Portraits of the Most Remarkable, Drawn from the life. London: J. and A. Arch, 1817. Folio. 54 engraved plates (other copies call for 48, perhaps additional plates). With 8 pasted in engravings by Vliet depicting various characters [c.1630's?]. Also a collection of 12 original watercolours copied from The Cries of London by M. Newman in 1815, illustrated on blank leaves, bound in at the rear of the book. Provenance: ''A selection from he Cires of London in six parts being a collection of seventy two humorous prints drawn from the Life, by that celebrated artist Larson with additions and improvements by L. P. Boitard 12 copied by M. Newman 1815". (Inscription). (Occasional soiling and spotting). Contemporary quarter calf (spine worn, boards detached, boards worn, endpapers detached).
SMITH, JOHN THOMAS (1766-1833); ADLAND, HENRY. ESC. INGLESA, S.XIX. “Retrato de G. F. Robson”. Un dibujo a lápiz, de 23x19 cm. aprox. (preparatorio) y el correspondiente grabado, de 16x11,5 cm. aprox., ambos en un mismo marco. Este último titulado en plancha.
Smith, John Thomas (1766-1833), Original Drawings, The Cries of London, London: John Bowyer Nichols and Son, 1839, later bound with thirty original pencil sketches of the characters described therein, after the original plates by Smith, flyleaf with inscription dated Lancaster, 1855, and artist identified as Elizabeth Garvanton (?), three quarter morocco, 4to, (extremity wear, spotting).
'PRIVATE SIGNALS OF THE MERCHANTS OF BOSTON, DEDICATED TO MERCHANTS AND UNDERWRITERS OF BOSTON BY OBT. SERVANT JOHN T. SMITH' (JOHN THOMAS, 1766-1833). CA 1830. ONE HUNDRED AND TWELVE SHIPS FLAGS DEPICTED IN ALPHABETICAL ORDER, ALL SURMOUNTED BY AN EAGLE. IN CONFORMING VINTAGE WATER GILT MOLDED FRAME WITH FOLIATE APPLIED BRACKETS, GLAZED. SS: 40 1/2" X 29 3/4", OS: 46 1/2" X 35 1/2".
Figures in a cottage interior oil on panel 16 1/8 x 131/4 in. (41 x 33.6 cm.) PROVENANCE Adriaan Bout; (+) sale, The Hague, 11 August 1733, lot 57 (sold 600 florins). (Probably) Count Wassenaer-Obdam, from whom acquired through Monj‚ by Willem Lormier; (+) sale, Francken, The Hague, 4 July 1763, lot 228 (sold 1400 florins). Anon. Sale; Van der Schley, Amsterdam, 17 April 1783, lot 207 (1300 florins to Viet). Henry Croese; sale, Van der Schley, Amsterdam, 18 September 1811, lot 80, 'Ce tableau d'un fini rare ga tout le m‚rite du meilleur ‚lŠve, de Gerard Douw les physionomies sont pleines d'action, le coloris est frais et naturel, on ses bonnes productions, il y a fait preuved'un grand talent, et sur tout d'une patience sans exemple, les moindres d‚tails y sont d'un fini, qui ne laisse rien desirer', retained by the vendor and re-offered; Waterham, Amsterdam, 20 July 1812, lot 51, with the same description (sold 499 florins). Claude-Joseph de Clos; (+) sale, Poultier, Paris, 18 November 1812, lot 51, 'il joint … un fini pr‚cieux et admirable une belle entente de couleur, et la plus heureuse intelligence de clair-obscur. La raret‚ des productions de Singelandt, et leur v‚ritable m‚rite, les rendent sans prix' (5,000 francs to de la Roche). M. L. LapeyriŠre; sale, Lacoste, Paris, 14 April 1817, lot 53, 'Cet ‚lŠve de G‚rard Douw a une ex‚cution encore plus finie et plus soign‚e que celle de son maŒtre' (6,300 francs to Coquille). H. Stokvisch; (+) sale, Van der Schley, Amsterdam, 22 May 1823, lot 121 (440 florins to Mensardt). Duchesse de Berry; sale, Paillet, Paris, 4 April 1837, lot 61 (sold 5462 francs). with Chevalier Henry Cousin, Paris, from whom acquired by Beriah Botfield (1807-1863), by 1848, by whom bequeathed to the Thynne family. LITERATURE J. Smith, A Catalogue Raisonn‚, etc., I, London, 1829, p. 50, no. 2 'The Puppet-show Man - Collection of Mr Bout 1733'; p. 51, no.8 'Mentioned by Descamps. Collection of M. Lormier'; p. 54, no. 20 'Collection of M. de Clos, 1812, and Le Perrier, 1817'; p. 56, no. 25, 'Now in the collection of the Duchess de Berri', with incorrect measurements; supplement, 1842, p. 29, no. 15, 'The Violin Player - Exhibited in 1834 for private sale, the collection of the Duchess de Berri, at Messrs. Christie and Manson's, price 400 l '. Beriah Botfield, Catalogue of Pictures in the possession of Beriah Botfield Esq. at Norton Hall, London, 1848, pp. 48-9, 'Interior of a House in Holland, the Master seated at a table with a pipe in one hand and a jug in the other, the wife leans over the back of a chair, while a man seated opposite plays on the violin, the nurse and two children are looking in at the door, a dog on the floor'. Beriah Botfield, Catalogue of Pictures at Norton Hall, London, 1863, p. 37. C. Hofstede de Groot, A Catalogue Raisonn‚, etc., V, London, 1913, p. 450, no. 102, 'Interior with a Violin-player and Listeners'. EXHIBITION London, Christie's, April 1833, The collection of His Late Royal Highness The Duke de Berri, for private sale, no. 97, priced at œ400. London, British Institution, 1847. Northampton, City Art Gallery, County Exhbition, 1938. NOTES We are grateful to Professor Peter Hecht who supports the attribution on the basis of a transparency. He opines that 'what can be seen of the style, but also of the very typical Van Slingelandt models (small children included), seems in perfect support of the attribution'. In these respects he compares the picture to some of the artist's finest works including the Carpenter's Family in the Royal Collection, and the Wealthy Family in the Statens Museum, Copenhagen. Professor Hecht was the first to identify the picture as that listed by Hofstede de Groot as no. 102, with a distinguished provenance stretching back to its sale from the collection of Adriaan Bout in 1733. Hofstede de Groot deemed the picture 'A capital work, with very fine drawing, spirited and natural characterisation of the figures, good light and shade, and wonderfully incisive brushwork'. The picture was similarly lauded throughout the eighteenth and early nineteenth centuries, but did not meet with such acclaim when offered for private sale in an exhibition at Christie's in 1834, no doubt on account of an ill-judged restoration probably undertaken on behalf of the duc de Berry. An annotated copy of the catalogue that once belonged to J. H. Anderson, in the RKD, remarks on the introductory page that 'but not a few exhibit the bareness resulting from the French system of cleaning' and beside the entry for the present work, he noted '& certainly as fine as his master but has suffered much in the cleaning'. Another version of the present composition is recorded in the form of a picture sold at Christie's in 1849 from the collection of William Williams Hope, that Hofstede de Groot erroneously includes in the provenance for the present work. The slightly anomalous catalogue description mentions a woman and three children (rather than two) in the background.
The Covent Garden morning frolick oil on canvas 611/2 x 531/2 in. (156.2 x 136 cm.) NOTES This scene is set in Inigo Jones's elegant Covent Garden Piazza, early in the morning, in front of St. Paul's church. A woman in masquerade dress is carried in a sedan chair, whilst an inebriated rake sits on the roof and another, dressed in red and carrying an artichoke upon his shoulder, walks alongide. By the middle of the 18th century, most of the piazza's elegant town houses had been converted into taverns, coffee houses, gambling dens and turkish baths, many of which barely disguised their real function as brothels. John Thomas Smith (1766-1833), the first keeper of the British Museum, identified the characters in this scene in his biography of the sculptor Nollekens ( Nollekens and His Times ), published in 1829. He believed that the lady in the chair was Betty Careless, the notorious brothel owner, and that the man on the roof was one of her many lovers, Captain Montague. Smith also identifed the 'link boy' leading the procession as Little Cassey and the gentleman in the red coat as the artist Marcellus Laroon (1679-1772), who had lodgings locally. In terms of satirical works, William Hogarth's famous series The Four Times of the Day in 1738, pre-empted the spirit of Boitard's Frolick, 'Morning' is also set outside St. Paul's in Covent Garden. However the tradition for depicting Covent Garden Piazza goes back to the 1720s and is due, no doubt, to the high concentration of artists living in the area as well as the presence of Francis Russell, 4th Earl of Bedford, who commissioned and collected a substantial group of Covent Garden paintings. This painting is based upon the engraving by Louis Philippe Boitard which was published on 9 October 1747. Boitard (fl. 1734-1760), who worked in France and England, is known chiefly as an illustrator and engraver although a number of his engravings of genre subjects were translated into oils by other hands, for example, 'An exact representation of the game of cricket' (Tate Britain, N05853).
The Spanish Gipsy with signature 'Rembrandt' (lower centre) oil on canvas 52 3/8 x 43 5/8 in. (133 x 110.8 cm.) PROVENANCE Wouter Valckenier (1705-1784), [23] Kloveniersburgwal, nr. the Nieuwmarkt, Amsterdam, by whom bequeathed to his widow Elizabeth, n‚e Hooft (1712-1796); sale, Rycken, Amsterdam, 31 August 1796, lot 33, as Rembrandt Harmensz. van Rhijn, 'In dit uitmuntend schilderij ziet men ter linker zijde een meisje in een rijke kleeding zittende op de voorgrond; nevens haar staat een geit, waarop een aartig kindje, meede in rijke kleeding gezeeten is, en die door Dienstmaagd of Voedster word vastgehouden; aan de andere zijde vertoond zich noch een jong meisje van ter zijde te zien en alles is zeer stout, fix en meesterlijk gepenceeld en met die kragt van coloriet en uitwerking vervaardigt, deze grooten konstenaar alleen eigen, kunnen de ook voor een der beste werken van hem beschouwt worden.' (1,413 florins to Carli [the dealer B. Carli]). Josephus Augustinus Brentano, Heerengracht, Amsterdam; (+) sale, De Vries, Amsterdam, 13 May 1822, as Rembrandt Harmensz. van Rhijn, 'Une ContrabandiŠre, avec ses Marchandises' (3,205 florins to De Vries [presumably the dealer, Jeronimo de Vries, who presumably sold the picture to, or bought it on behalf of, Townshend]). Lord Charles Townshend (1785-1853), by 1824, when exhibited at the British Institution, by whom presumably sold to Christianus Johannes Nieuwenhuys; sale, Christie's, London, 10 May 1833, lot 123, as Rembrandt Harmensz. van Rhijn, ' The Spanish Gipsy... This capital picture is of an extraordinary force of colouring; the effect of the clair-obscure is magical, and the whole is painted with a boldness which displays all the power of the great master so unique and talented' (610 gns. to Gordon, perhaps on behalf of Rothschild). Baron James Mayer de Rothschild (1792-1868), H“tel Rothschild, Rue Lafitte, Paris, by 1836, when published by Smith, loc. cit., as by Rembrandt Harmensz. van Rhijn, by whom bequeathed to Sir Anthony de Rothschild, 1st Bt. (1810-1876), by whom bequeathed to his nephew Sir Nathan Mayer de Rothschild, 2nd Bt., subsequently 1st Baron Rothschild (1840-1915), Tring, Buckinghamshire, by whom presumably sold to Davis. With Charles Davis, London, by whom possibly sold to John Pierpont Morgan, New York (1837-1913). Baron Paul Hatvany (1899-1977), Cadogan Place, London; (+) Christie's, London, 11 July 1980, lot 17, as Nicolaes Maes (to Cramer on behalf of Dreesmann). Dr Anton C.R. Dreesmann (inventory no. A-41). LITERATURE J. Smith, A Catalogue Raisonn‚, etc., VII, London, 1836, p. 74, no. 175, as Rembrandt Harmensz. van Rhijn, ' A Nurse holding a Child on a Goat The picture is painted with astonishing breadth and force, and possesses the most dazzling effulgence of sunshine effect'. A. von Wurzbach, Niederl„ndisches Knstler-Lexikon, Vienna/Leipzig, II, 1910, p. 90, as Nicolaes Maes. W. von Bode, Der Meister der holl„ndischen und vlamischen Malerschulen, (2nd edn.) Leipzig, 1919, pp. 65-6, as Nicolaes Maes. C. Hofstede de Groot, A Catalogue Raisonn‚, etc., VI, London, 1916, p. 500, no. 89, as Nicolaes Maes, 'A young Woman with a Child riding on a Goat'. W. Valentiner, Nicolaes Maes, Stuttgart/Berlin/Leipzig, 1924, pp. 11 and 44, fig. 6, as Nicolaes Maes, circa 1650. H. Wichmann, 'Review of Valentiner 1924', Der Cicerone, 16, 1924, p. 778, as an early work. W. von Bode, Die Meister der holl„ndischen und fl„mischen Malerschulen, 9th edn., E. Plietzsch, ed., Leipzig, 1958, p. 77, as Nicolaes Maes, circa 1652-3. W. Sumowski, 'Christus segnet die Kinder. Bemerkungen zu einem Frhwerk von Nicolaes Maes', Ladendorf-Festschrift, Cologne/Vienna, 1970, p. 42, as Nicolaes Maes, circa 1654. W. Sumowski, Gem„lde der Rembrandt-Schler, III, Landau-Pfalz, 1986, p. 2011, no. 1329, illustrated p. 2055, as Nicolaes Maes, dated to 'wohl um 1653'. Ibid., Drawings of the Rembrandt School, New York, 1984, p. 4116, under no. 1835, as Nicolaes Maes. Ibid., 'In Praise of Rembrandt's Pupils', in the catalogue of the exhibition, Rembrandt's Academy, p. 74, as Nicolaes Maes. Ibid., Gem„lde der Rembrandt-Schler, VI, Corrigenda und Addenda, Landau-Pfalz, 1994, p. 3628, no. 1329, illustrated p. 3677, as Nicolaes Maes. W. Robinson, The early works of Nicolaes Maes, 1653-1661, Phil. Diss., Cambridge, Massachusetts, 1996 (Anne Arbor 1997), no. C-12, as School of Rembrandt. L. Krempel, Nicolaes Maes, Petersberg, 2000, p. 362, no. D 40, figs. II and 5, as Nicolaes Maes, dated to circa 1653. EXHIBITION London, British Institution, 1824, no. 119, as Rembrandt Harmensz. van Rhijn, ' The Spanish Gipsy '. London, Matthiesen Gallery, Rembrandt's Influence, February 1973, no. 49, as Nicolaes Maes. The Hague, Mauritshuis, Terugzien in bewondering: a collector's choice, 1982, no. 53, illustrated, as Nicolaes Maes. Notre Dame, Indiana, Snite Museum of Art, On Loan from Holland. A Dutch Treat, 17 October-16 December 1982, no. 8, as Nicolaes Maes, illustrated on the cover. The Hague, Hoogsteder, Exhibition of Rembrandt's Academy, 1992, P. Huys Janssen, ed., pp. 236-9, no. 30, illustrated. Amsterdam, Gebr. Douwes, Old Master Paintings until 1805, Gebr. Douwes Fine Art 1805-1995, Katalog zur Verkaufsausstellung anl„álich des 190j„hrigen Firmenbestehens, 27 November 1995-3 January 1996, no. 27, as Nicolaes Maes. NOTES For long regarded as a notable work by Rembrandt, this was first published as the work of his pupil, Nicolaes Maes, by von Wurzbach in 1910. His attribution has been fully accepted by such scholars as Wilhelm von Bode and Werner Sumowski, and although listed by Robinson, loc. cit, as School of Rembrandt, the attribution to Maes was reaffirmed by Leon Krempel in his 2000 monograph and catalogue raisonn‚ of the artist's oeuvre. This important, early picture shows the artist at the outset of his career, strongly influenced by the work of his master. The exact dates of Rembrandt's pupils' apprenticeships are not generally known, however Maes's is thought to have begun between 1648 and 1650. The facts that by December 1653 Maes had settled in Dordrecht and had made plans to marry, and that his painting of The Expulsion of Hagar is signed and dated 1653 (fig a; New York, Metropolitan Museum of Art), confirm that he had begun his independent career by that date. Although the title of The Spanish Gypsy is a traditional one, dating back at least to 1824 (the year it was exhibited at the British Institution in London), the actual subject remains uncertain. The iconography of similarly dated works suggests that this is a history painting, and certainly the costume of the central female recalls those in Biblical subjects, whilst the headdress of the child seems to be based on sixteenth-century dress; however Maes had turned to genre painting by 1654, and some genre pictures of that year, for example the Young lace-maker beside a cradle (Worms, Heylshof Museum) and the Young girl at a window (Amsterdam, Rijksmuseum), retain an iconographic similarity to his history works, so the matter remains open for further research. At all events, the picture is grouped with a small number of history paintings from that period, including, besides the Metropolitan Museum picture, a Vertumnus and Pomona (1653?; Dublin, National Gallery of Ireland), a Suffer the little Children to come unto Me (fig. b; 1652/3; London, National Gallery) and a Woman of Samaria at the Well (c. 1653; Amsterdam, Russell collection). The head of the central figure in the present work closely resembles that of Hagar in the Metropolitan picture, and it has been suggested that they both represent the same model, whilst the present composition recalls that of the London Suffer the little Children. Professor Werner Sumowski (1984, loc. cit.) has noted that there is a drawing by Maes, datable to 1652-3, of Hagar and the Angel near the Well (fig. c; Mus‚e des Beaux-Arts, Besan‡on), in which the figure of Hagar 'in type and dress is comparable' to the central standing figure in the present picture. By the later 1650s, Maes had begun to turn to the portraiture that would dominate his subsequent career. As he aged, his technique was to become increasingly rigid and stylised, and the 1650s are universally regarded as the zenith of his career, a view reflected by the fact that of the known history and genre paintings from this period, numbering about sixty, forty-three are in museums. With the exception of the present picture, the only major work by Maes to appear at auction for a generation is An old woman making lace in a kitchen, which was sold in 1985 (œ380,000) and again in 1994 (œ460,000); the painting is now in the Rijksmuseum, Amsterdam. Maes's colour, chiaroscuro and brushwork here owe a clear debt to Rembrandt's work of the mid-1640s to the early 1650s, for example the latter's Holy Family in the Carpenter's Shop (fig. d; 1645; St. Petersburg, The Hermitage), or his Young girl at a window (fig. e; 1651, Stockholm, Nationalmuseum). Maes restricted his palette to blacks, browns, whites and reds and employed techniques ranging from a meticulous 'fine painting' style in the description of wooden furniture or a wicker cradle to a grainy - occasionally, as with the present picture, even pastose - application of richly graduated tones in the execution of fabric and flesh. Although indebted to Rembrandt's example, his early works exhibit a precocious originality in the interpretation of the sacred text and iconographic tradition. Indeed during this period, Maes can be ranked among the most innovative Dutch genre painters, owing to his talent for pictorial invention and for devising expressive poses, gestures and physiognomies. For instance, in the New York Expulsion of Hagar, Hagar's inconsolable response to her dismissal and the characterization of Ishmael as a prematurely embittered outcast mark it as one of the most poignant renderings of a theme that was especially popular amongst Rembrandt's students. The provenance of The Spanish Gipsy is documented from the end of the eighteenth century, and has passed through a series of highly distinguished collections. It is first recorded in the collection of Wouter Valckenier, a member of a prominent merchant family, whose relations included a Governor-General of the Dutch East Indies, and Clara Valckenier, who married Casper Pellicorne, one of the subjects of Rembrandt's pair of double portraits of Jean Pellicorne and his son Casper and Susanna van Collen, wife of of Jean Pellicorne, and her daughter Anna (c. 1632-4; painted with studio participation; London, Wallace Collection). Wouter was a man of considerable means (his income was estimated in 1742 at between 8,000 and 9,000 florins, a very considerable sum; on her death, Elizabeth left an estate valued at 403,000 florins), who rose to become in 1731 Commisaris and, in 1736, Schepen of the City of Amsterdam. Valckenier's collection was divided between his family's Amsterdam residence in what is now 23 Kloveniersburgwal, near the Nieuwmarkt, and their country estate, Valk-en-Heining, on the river Amstel near Loenersloot. The 1796 sale of the Valckenier collection, caused by the couple having remained childless, contained several important works of art, including Rubens' Diana returning from the Chase (Cleveland, Ohio, Museum of Art). After passing through Josephus Brentano's collection, the painting entered that of the notable British collector Lord Charles Townshend. Townshend, whose seat was at Raynham Hall, Norfolk, was the youngest son of George, 2nd Marquess Townshend (1753-1811). For the most part, Townshend preferred to live in London, and assembled there an important collection of pictures, which he kept separate from the huge assemblage of family portraits at Raynham. The collection was begun in about 1811 and was continued, with regular sales and purchases, up to the year of his death, in 1853. Much of his collection was bought, and sold, through dealers, and he is known to have used both Jeronimo de Vries, from or through whom it may be assumed that he acquired The Spanish Gipsy, and Christianus Johannes Nieuwenhuys, to whom he almost certainly sold it. Amongst other pictures in his collection were masterpieces such as Rembrandt's Agatha Bas (Royal Collection, Windsor Castle) and Margaretha de Geer (London, National Gallery), Schalcken's Girl with a Candle (Royal Collection, Windsor Castle), Murillo's Young man drinking (London, National Gallery) and Teniers' Le Bonnet Rouge (Wrotham Park, England). From the Townshend collection, the picture passed, through Nieuwenhuys, to the Rothschild collection. Baron James Mayer de Rothschild (1792-1868), Mayer Amschel's youngest son, was the most significant collector of the second generation of the Rothschild family. The decoration of his h“tel particulier in the Rue Lafitte, Paris, executed in circa 1820, combined elements of the Renaissance Revival with Pompeian Revival classicism. His renowned collection of works of art in the h“tel included objets from the Middle Ages and the Renaissance, eighteenth-century French furniture and tapestries and numerous masterpieces by Old Masters, including works by Rembrandt, Rubens, Watteau, Van Eyck and Vel zquez. In 1836 the German poet Heinrich Heine (1797-1856) commented that the H“tel Rothschild contained 'everything the sixteenth-century mind could conceive of and the nineteenth-century purse could buy... it is the Versailles of the absolute monarchy of money'. J.P. Morgan is a legendary figure in the history of American collecting. His collection, vast and comprehensive in scale, ranged from superb Old Masters to rare manuscripts and Renaissance enamels, and helped to form a significant portion of the holdings of the Metropolitan Museum of Art, the Frick collection and the Wadsworth Athenaeum. One contemporary described the display of his collection in New York as 'the greatest event that had ever happened to any country'. Baron Paul Hatvany was a Hungarian exile whose family came to England just before the Second World War. In his house at Cadogan Place he built an important collection of Old Master Paintings and Drawings that included Giovanni Bellini's Dona delle Rose Madonna and Child (Southampton, Art Gallery), Rubens' Jacob and Esau (Edinburgh, National Gallery of Scotland) and Francesco di Giorgio Martini's drawing of Adam and Eve (Oxford, Christ Church).
![SMITH, John Thomas (1766-1833). Vagabondiana; or, Anecdotes of Mendicant Wanderers Through the Streets of London; with Portraits of the Most Remarkable, Drawn from the life. London: J. and A. Arch, 1817. Folio. 54 engraved plates (other copies call for 48, perhaps additional plates). With 8 pasted in engravings by Vliet depicting various characters [c.1630's?]. Also a collection of 12 original watercolours copied from The Cries of London by M. Newman in 1815, illustrated on blank leaves, bound in at the rear of the book. Provenance: ''A selection from he Cires of London in six parts being a collection of seventy two humorous prints drawn from the Life, by that celebrated artist Larson with additions and improvements by L. P. Boitard 12 copied by M. Newman 1815". (Inscription). (Occasional soiling and spotting). Contemporary quarter calf (spine worn, boards detached, boards worn, endpapers detached).](https://stageimg.invaluable.com/housePhotos/chiswick/03/611503/H3383-L125748467.jpg)
