George Ii Barret

LOT 81 GEORGE BARRET JNR 1767-1842 UNLOADING SAIL BARGES NEAR LAMBETH BRIDGE 2,000—3,000 GBP measurements 26 by 36 cm; 10 by 13 3/4 in. Description watercolour over pencil heightened with stopping out andscratching out PROVENANCE Anonymous sale, Sotheby's London, 10 July 1997, lot 97 ENGRAVED: by G. Cooke, finshed by W. B. Cooke, 1822 CATALOGUE NOTE This view is taken from the water-steps of the penitentiary onthe opposite bank from Lambeth Palace.

George Barret, Jun. (London 1767-1842) The Thames from Richmond Hill, Surrey pencil and watercolour, heightened with white and with scratchingout, on paper 20¾ x 29 in. (53 x 74 cm.) Provenance Captain E.G. Spencer-Churchill, M.C., Northwick Park (+);Christie's, London, 25 May 1965, lot 149. Lot Notes The view depicted looks over the Thames southwards from RichmondHill towards Petersham Meadows. Barret was one of the foundingmembers of the Old Watercolour Society in 1805. He lived in thePaddington area for most of his life and his subjects were mostlyLondon and Thames views. Barret exhibited a View from Richmond Hillat the Old Water-colour Society in 1818, which may be the presentwatercolour.

George Barret Jnr. (British, 1767-1842) 'Twilight' signed 'G Barret' (lower centre) and dated '1835' (lower right), watercolour 38 x 30.5cm (15 x 12in). PROVENANCE: James Orrock, London, 1887. with Thomas Agnew & Sons, London. EXHIBITED: London, Grosvenor Gallery, Winter 1877-1878, no 134, cat. 1. Manchester, Royal Jubilee Exhibition, 1887. London, Burlington House, 1891, no 120.

Lot 2127 George Barrett Jnr (1767-1842) pencil and watercolour Loading barges on the Thames 19 x 26in. Estimate £300-500 Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.

Provenance The present owners' grandfather, who is believed to haveacquired it in the 1950s, and by inheritance. Exhibited Belfast, Ulster Museum and Art Gallery, Pictures from UlsterHouses , 1961, no. 73. Dublin, National Gallery, on loan circa 1975-1992, exhibitedat the National Gallery and at Malahide Castle. Belfast, Ulster Museum, on loan circa 1992-1998. Enniskillen, National Trust, Castle Coole, on loan circa 2003 -2007. Lot Notes George Barret was perhaps the most celebrated Irish landscapepainter of the latter half of the eighteenth century. Thislandscape is characteristic of Barret's work before he left Irelandto work in London in 1763. In terms of subject and composition itshows the influence of the ideas of Edmund Burke, whom Barret isthought likely to have met while Burke was an undergraduate atTrinity College Dublin. Burke's seminal essay A PhilosophicalEnquiry into the Origin of our ideas of the Sublime andBeautiful , was first published in 1757 and Barret absorbed manyof his ideas, reflecting them in his approach to landscapepainting. Burke was also said to have introduced Barret to the 2ndViscount Powerscourt for whom he worked early in his career in thePowerscourt demesne, co. Wicklow, which includes some of the mostromantic reaches of the Dargle valley and the famous waterfallitself. Barret was to paint some of his most celebrated landscapesfor Viscount Powerscourt including the View of Powerscourt Houseunder the Sugar Loaf Mountain (British Art Center, Yale) andhis View of Powerscourt Waterfall (National Gallery Ireland)as well as other views on the Dargle river. The present landscapewith its rocky cliffs and cascading waterfalls on the far back ofthe river, which dwarf the figures and cattle below, is reminiscentof Barret's views of the Dargle in both its dramatic topography andfeeling.