- 212
English School, early 17th Century
Estimate
8,000 - 12,000 GBP
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Description
- English School, early 17th Century
- The Appearance of the Angel to the Shepherd
- Watercolour on vellum, held in a 17th Century lacquered frame;
inscribed with a later monogram lower left: IO (Isaac Oliver), extensively inscribed on two labels attached to the frame (verso): Sir George Hungerford, who married Frances Second Daughter / of Charles Lord Seymour, was Mr Keate's Great Grandfather: / vide Keate's Works vol 1 page 169 in the Note / about: No. 1665 / This Picture done by Isaac Oliver formerly belongte [sic] / to my dear Mr Keate's ancestors and when shown by / him to Mr Horace Walpole the Late Earl of Orford, was / told by him that he did not recollect to have ever seen an / Historical Picture of this great Master before, tho' he had Seen and had many himself of his doing but all / either Single Portraits, or Conversation pieces - and / added that if he should print another Edition of the / Lives of the Painters, he should be obliged to Mr Keate / if he would permit him to give a description of it. / The above was written by Mrs Keate, whose Husband was / related to the Hungerfords of whose Family / this Picture had been preserv'd for many years / 16th June 1800. M. Fonnereau, Exr. of Mr & Mrs Keate - Diam. 128 mm
Provenance
Sir George Hungerford (1637-1712);
by family descent to Mr Keate;
by descent to his executor, Martyn Fonnereau (1740-1817);
by descent to his niece, Mrs George Hibbert, Munden, Hertfordshire;
with Hazlitt, Gooden & Fox, London (bt. as by Isaac Oliver);
Private Collection, London
sale, London, Sotheby's, 'The Exceptional Eye', 14 July 2010, lot 37;
where acquired by the present owner
by family descent to Mr Keate;
by descent to his executor, Martyn Fonnereau (1740-1817);
by descent to his niece, Mrs George Hibbert, Munden, Hertfordshire;
with Hazlitt, Gooden & Fox, London (bt. as by Isaac Oliver);
Private Collection, London
sale, London, Sotheby's, 'The Exceptional Eye', 14 July 2010, lot 37;
where acquired by the present owner
Condition
This work has remained in good condition. The pigments have largely been well preserved. At the top left hand corner of the sheet, there is a small area where the vellum has lifted slightly, this can only be seen on very close inspection. The frame which dates to the 17th Century is in very fine condition.
"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 fascinating work is closely associated with the fashion for ‘cabinet miniatures’ which flourished during the first years of the 17th Century. According to the old label on the reverse of the frame, when the great collector and connoisseur Horace Walpole saw the miniature in the late 18th Century, he believed it to be by Isaac Oliver. This attribution cannot be upheld on stylistic grounds, although the work was undoubtedly painted by an early 17th-century artist, who was fully aware of the advances that Isaac and Peter Oliver had made with this particular strand of miniature painting. For further information on the ‘cabinet miniature’ tradition please see the catalogue note for lot 211.