Two watercolor drawings, one depicting two spiders and the other depicting three insects (one mayfly and two beetles).
Alternative Title:
Three insects
Description:
Titles from local catalog card., Each drawing signed in pencil in lower left corner with the artist's initials., Place of production based on artist's countries of residence in Europe; date of production based on artist's death date., Formerly page 5 in an album containing 402 pages, bound in red morocco leather with single gilt ruled line; spine stamped in gold "Drawings." Now disassembled and matted separately: Bull, R. Scrapbook of drawings. [England], [not after 1806]., Matted to 49 x 37 cm., and Original case shelved separately.
Half-length, oval portrait of Philip Sidney, English poet, courtier, scholar, and soldier, bust directed to left but looking at the viewer, wearing a ruff and armour
Alternative Title:
Sir Philip Sidney
Description:
Title devised by curator, based on published print after this drawing., Artist unknown., After a painting by Isaac Oliver, which was described in 1741 as in the collection of Sir Brownlow Sherrard Bart. A related painted portrait by an unknown artist is in the National Portrait Gallery, London, inv. no. 5732., and One of ten portraits in oil and other drawings included in George Vertue's set of engravings: The heads of the most illustrious persons of Great Britain (London : John and Paul Knapton). See all catalog records by searching call number: LWL Folio 724 743 H432 (Oversize).
Pencil notation verso, "St. Luke 7/6"., Framed drawing labeled Hippocrates., Date based on style of drawing., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
Two watercolor drawings, one depicting a skate and the other depicting a hermit crab in a shell
Alternative Title:
Crab
Description:
Titles from local catalog card., Each drawing signed in pencil in lower left corner with the artist's initials; top drawing is mounted upside down, causing the initials to appear inverted in upper right., Place of production based on artist's countries of residence in Europe; date of production based on artist's death date., Formerly on page 29 in an album containing 402 pages, bound in red morocco leather with single gilt ruled line; spine stamped in gold "Drawings." Now disassembled and matted separately: Bull, R. Scrapbook of drawings. [England], [not after 1806]., Matted to 49 x 37 cm., and Original case shelved separately.
Title devised by curator., Place of creation and date tentatively assigned by cataloger., Unsigned., and This record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
A scene from the Beggar’s Opera as performed and perhaps witnessed by Hogarth. The scene (Act III, Scene II) is the last. Set in Newgate prison. At center stage, is the highwayman Macheath, chained (played by Thomas Walker) wearing red. Two women who believe they are married to him plead for his life as he is sentenced to the gallows. To his left, Lucy Lockit with her back to the audience (played by Mrs. Egleton) is dressed in blue. She pleads with her father the prison warden (John Hall). On his right Polly Peachum (played by Lavinia Fenton) dressed in white with a pink sash, pleads with her father, a dishonest lawyer and informant (played by John Hippisley). The actors are flanked by an audience members privileged to sit in boxes on the stage. Among these is John Rich the impresario of the play. Cf. Einberg
Alternative Title:
Horace Walpole’s Copy of A Beggar’s Opera
Description:
Title from 2005 Christie's appraisal., Artist unidentified., Formerly attributed to William Hogarth. See R. Paulson, Hogarth: his life, art and times, pp. 26-7, pl. 45., In a contemporary gilt Rococo frame., Label on verso in Horace Walpole's with a note in his hand: "Sketch of the Beggar’s opera as first performed: Macheath, in red, by Walker. Polly kneeling, in white, by Miss Fenton, afterwards Duches of Bolton: Lucy in green, her face turned away, by Mrs. Eggleton; Peacham, in black by Hippisley; Lockit, by Hall. Amongst the audience, on the left hand, Sir Thomas Robinson of Rokeby, a tall gentleman with a long lean face; on the right, Sir Robert Faggs, profile, a fat man with short grey hair, much known at Newmarket. Painted by Hogarth. H.W.", Text from the 1842 Catalogue of the classic contents of Strawberry Hill collected by Horace Walpole: The original sketch of The Beggar's Opera, representing Walker as Macheath; Miss Fenton, afterwards Duchess of Bolton, as Polly, Hippisley, as Peach'em; Hall as Lockit; on one side in a box are Sir Thomas Robinson, very tall and lean, and Sir Robert Flagg, a famous Horse racer, fat, with short grey hair, by Hogarth. This highly interesting and curious picture was purchased at the sale of John Rich, the celebrated Harlequin and Master of the Theatres in Lincoln's-Inn-Fields and Covent Garden, for whom the picture was painted - it is in its pure and genuine state, and presents one of the most remarkable efforts of this original master., Text from the 1774 edition of Horace Walpole's Description of the villa of Mr. Horace Walpole, at Strawberry Hill: The original sketch of the Beggar's Opera: Walker as Macheath; miss Fenton, afterwards duchess of Bolton, as Polly; Hippisley, as Peach'em; Hall as Lockit: on one side in a box, sir Thomas Robinson, very tall and lean; sir Robert Fagg, a famous horse-racer, fat, with short grey hair: by Hogarth. Bought at the sale of John Rich, the well known harlequin, and master of the theatres in Lincoln's-inn-fields and Covent-garden, for whom the picture was painted. Formerly hung in the Great North Bedchamber, Strawberry Hill., and Title devised by curator.
Title devised by curator., Date of production based on artist's death date., and This electronic record is derived from historic data and may not reflect our current information. Review and updating of records is ongoing.
This cityscape depicts a view of Westminster Bridge built in 1739-1750 with private funding under the direction of Swiss engineer Thomas Page. The painting features one of the stone arches that characterize the structure the bridge and frames a view of the city of Westminster in the distance. Abundant activity on the Thames includes several boats and barges loaded with goods. Figures on the bridge include a man on a ladder working on a lantern at the top of a pier
Alternative Title:
Westminister Bridge
Description:
Title from 2005 Christie's appraisal., A second, autograph copy of this composition is at the Yale Center for British Art. See https://collections.britishart.yale.edu/catalog/tms:365, and Temporary local subject terms: arches | architectural subject | baskets | bathers | boats | bridge (built work) | buildings | city | cityscape | costume | drinking | food | genre subject | leisure | men | nude | pipe | platform | river | smoking (activity) | swimmers | swimming | tankard | women.
Purchased by Wilmarth Sheldon Lewis in Lima, Peru in 1943. Price $50 had been in there. Summary: A scene recorded in the Gospel of Matthew. An angel appears in a dream to Saint Joseph, husband of the Virgin Mary to announce the conception of Christ through the Holy Ghost. The angel gestures with one finger both to heaven and the Virgin Mary as she approaches the sleeping Saint Joseph whose head is rests in slumber on his hand and elbow as he leans at his writing desk. He is dressed in blue and red ornamented with gold flowers. His other hand holds a flower. Above joseph is an image of the Virgin Mary who kneels in prayer before an open Bible. The cloud before here represents the Holy Ghost. In the foreground are two courting peacocks, the male with his tail fully fanned. In the distance a shepherd watches his flock in a meadow. In the distance a city, presumably Nazareth, is nestled in the hills
Alternative Title:
Dream of St. Joseph and Dream of Saint Joseph
Description:
Title from 2005 Christie's appraisal. and Cuzco School (Peru).