- 15
Robert Edge Pine
Estimate
4,000 - 6,000 GBP
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Description
- Robert Edge Pine
- Portrait of William Capell, 3rd Earl of Essex (1697-1743)
- Pastel on paper, laid down onto canvas, held in a gilt-wood frame;
inscribed verso: William Capell Earl of Essex . by Pine 1742; inscribed in a later hand verso : R. E. Pine 1742 - 21in by 17½in
Half length, wearing a blue coat with Garter Star
Provenance
By descent in the sitter's family to;
Lady Elizabeth Capell (d. 1834), the sitter's grand-daughter and wife of John, 3rd Baron Monson (1753-1806);
thence by family descent
Lady Elizabeth Capell (d. 1834), the sitter's grand-daughter and wife of John, 3rd Baron Monson (1753-1806);
thence by family descent
Literature
Anthony Denney, Burton Hall, privately published, 1950, photographed in the Stone Drawing Room
Condition
This pastel has remained in good condition. There is some minor surface dirt and occassional very minor abrassions to the surface however, these are only visble on close inspection.
For further information on this lot please contact Mark Griffith-Jones on 0207 293 5083 or mark.griffithjones@sothebys.com.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
This pastel directly relates to an oil painting that was formerly in the collection of the Earl’s of Essex at Cassiobury Park and is now in the Watford Museum of Art. The oil is attributed to George Knapton and was probably painted in 1738 to celebrate William, 3rd Earl of Essex’s appointment as a Knight of the Garter. Essex led a short but varied life. He was, amongst other public positions, a gentleman of the Bed-Chamber to the Prince of Wales, Lord-Lieutenant of Hertfordshire (1722-1743), Ambassador to Turin (1734-5) and Captain of the Yeoman of the Guard (1739-1743). He married twice, firstly in 1718, Jane, daughter of Henry, 4th Earl of Clarendon and secondly, in 1725, Elizabeth, daughter of the 2nd Duke of Bedford. He died aged only forty-six at Watford.
Robert Edge Pine was the son of the engraver John Pine. An associate of Hogarth, his prints won him favour with King George II. His son Robert is thought to have been born circa 1726 and, as the present work is dated 1743, he would have been no more than a teenager when he drew it. Very little is known about Pine’s early life, however the re-discovery of this pastel has led Neil Jeffares to consider the possibility that the young artist may have been an apprentice in George Knapton’s studio. In adult life Pine exhibited works at the Society of Artists and the Royal Academy, he lived in Bath between 1772 and 1779, before moving to America in 1784. The present lot is a very rare example of his early work. Only one other pastel from this period survives: a copy of Hyacinthe Rigaud’s Portrait of Cardinal Fleury (see. Neil Jeffares, Dictionary of Pastellists before 1800, on-line edition). We are grateful to Neil Jeffares for his help in cataloguing this lot.
Robert Edge Pine was the son of the engraver John Pine. An associate of Hogarth, his prints won him favour with King George II. His son Robert is thought to have been born circa 1726 and, as the present work is dated 1743, he would have been no more than a teenager when he drew it. Very little is known about Pine’s early life, however the re-discovery of this pastel has led Neil Jeffares to consider the possibility that the young artist may have been an apprentice in George Knapton’s studio. In adult life Pine exhibited works at the Society of Artists and the Royal Academy, he lived in Bath between 1772 and 1779, before moving to America in 1784. The present lot is a very rare example of his early work. Only one other pastel from this period survives: a copy of Hyacinthe Rigaud’s Portrait of Cardinal Fleury (see. Neil Jeffares, Dictionary of Pastellists before 1800, on-line edition). We are grateful to Neil Jeffares for his help in cataloguing this lot.