Henry Bernard Chalon

LOT 656 HENRY BERNARD CHALON 1770 - 1849 A KING CHARLES SPANIEL AND A SQUIRREL IN A LANDSCAPE signed H. B. Chalon pinxit and dated 1816 lower left oil on canvas. Together with Attributed to Benjamin West, STUDIES OF A TERRIER, oil on canvas laid down on panel. 2 works. 8 5/8 by 10 1/4 in. 21.9 by 26 cm

Henry Bernard Chalon (1740-1849) A lady's best friend; A terrier; The new family; and Portrait of a young artist oil on canvas, unstretched and unframed 11 x 10½ in. (28 x 26.6 cm.); 11 x 11 in. (28 x 28 cm.); 5½ x 7 in. (13.4 x 18 cm.); 11½ x 9½ in. (29.2 x 24.1 cm.) four in the lot (4) This lot includes the artist's palette and three letters: a letter from Princess Charlotte to Chalon; a letter, appointing Chalon to be Animal Painter to HRH the Prince of Wales, dated 14th November 1809; a letter appointing Chalon as Animal Painter in Ordinary to His Majesty, William IV, dated 25th March 1831.

60. Chalon (Henry Barnard) Pavilion rode by Chifney, equestrian portrait, aquatint engraving, 465 x 520mm., some fine spotting and unevenbrowning, title field dampstained, Boydell, c.1800 § Sartorius(John Nost) Smolensko, portrait of the race horse, jockey up, aquatint engraving, 465 x 520mm., some superficial silverfishdamage and slight browning, S. Knight, 1813 (2)

LOT 14 PROPERTY FROM A PRIVATE COLLECTION HENRY BARNARD CHALON 1770-1849 PORTRAIT OF HIS MAJESTY'S STATE COACH HORSES 12,000—18,000 GBP signed l.r.: H.B. Chalon pinxit/ 1799 oil on canvas EXHIBITED London, Royal Academy, 1799 no. 243 CATALOGUE NOTE At a time when the carriage reigned supreme as the highest form of luxury transport, there was none more luxurious than the Royal Carriage. In this beautifully painted and exquisitely detailed painting we see depicted the bespoke Rolls-Royce of its day, complete with liveried coachman and magnificent black coach horses. Henry Barnard Chalon, born on 6th May 1771, was 'Animal Painter to the Duchess of York' in 1796 and later filled the same role for both the Duke of York and his elder brother the Prince of Wales (later George VI). A prolific animal painter, who in his latter years specialised in horses and dogs, Chalon entered the Royal Academy schools in 1788 and won a silver medal in 1790. He exhibited extensively in the annual Academy shows between 1792 and 1849 and in the British Institution from 1807 until his death. Exhibited at the Royal Academy in 1799 the painting depicts one of the royal carriages, from the Mews of George III, pulled by a pair of the state coach horses, outside Marlborough House on the Mall, with St James's Palace in the distance. The Royal Arms are emblazoned on both the door and on the front of the carriage, with the order of St. George on the side. Chalon tenderly captures an informal moment in the otherwise formal world of court life, bringing a touch of intimacy to the scene through the playful interaction between the horses and a small dog in the foreground.

Henry Bernard Chalon (1770-1849) A dark bay hunter jumping a fence, with a huntsman, in the grounds of Spye Park, Wiltshire signed and dated 'H.B. Chalon, pixit1815.' (lower right) oil on canvas 52½ x 68 in. (133.5 x 172.8 cm.) Provenance Commissioned by Colonel Thomas Thornton (1751/52-1823), by whom probably sold in 1819/20. William Montagu Tharp (1837-1899), and by descent. Lot Notes Spye Park, between Chippenham and Devizes in Wiltshire, and close to the great Roman road from London to Bath, was the seat of generations of the Bayntun family. The house was remodelled for Sir Edward Bayntun, 1st Bt. (d. 1800), by Edward Stevens, A.R.A., the design - 'The new front now erecting to the old house at Spye Park, Wilts, the seat of Sir Edward Baynton, Bart.' - was exhibited at the Society of Artists in 1767 (no.277). Stevens had been a pupil, from before 1762 until 1766, of Sir William Chambers, who thought highly of him, describing him in a letter to Lord Milton as 'a very ingenious young Architect'. However, Stevens died of an illness in Rome in 1775, when he must still have been relatively young. His principal works were Spye Park and Doveridge Hall, Derbyshire, the latter for Sir Henry Cavendish, Bt. In 1805 Spye Park was leased by Colonel Thomas Thornton, a somewhat legendary sportsman and bon-viveur. Thornton had inherited the family seat of Thornville in Yorkshire (see lot 101), but entertaining lavishly and running two London houses exacted their toll on his finances, forcing him to sell his estates. His move South took on the character of an emperor's progress 'accompanied by a retinue of huntsmen, falconers, grooms, keepers, kennel-men, and personal servants, by horses and hounds and a train of waggons containing all his prize beasts of the chase...', as well as 'a fantastic arsenal of sporting weapons drawn by Arab mares of the King's stud. The procession was completed by several waggon-loads of wine.' Some time after 1817, Thornton went to live in France, and his considerable art collection, including pictures by Rubens and van Dyck, was sold in 1819-20 to pay his debts. Records of the Bayntun family record that in 1814 Colonel Thornton had wanted to replace the Bayntun portraits in the house with pictures of his own and, while Thornton would already have had a large collection, the commissioning of works such as the present picture must soon have followed. In 1865 the Spye Park estate was bought by Major J.W.G. Spicer, who demolished the old house replacing it with a red brick house which burnt down in 1868. Its replacement, designed in the Tudor style, was itself destroyed by fire in 1974. Chalon was the son of Jan Chalon, a Dutch musician and engraver, and 'Jackey' Barnard, the daughter of Sir John Barnard, a financier, London merchant, Lord Mayor and M.P. Chalon studied at the Royal Academy schools and married Sarah, a sister of the artist James Ward. Their daughter, Maria A. Chalon became a miniaturist. However, Chalon soon took a mistress and became estranged from his wife, and James Ward subsequently tried to impede his brother-in-law's career. Chalon had considerable success as a painter and in 1795 was appointed animal painter to the Duchess of York, and later to the Prince Regent and William IV. Other important patrons included the Dukes of Beaufort and Devonshire, Earl Grosvenor, Lord Raby and Col. Thornton. He exhibited almost two hundred pictures at the Royal Academy but was never made an Academician, possibly because of the pernicious influence of his brother-in-law James Ward. He also exhibited at the Society of British Artists and the British Institution. Many of his exhibited pictures were of birds, dogs, horses, and ponies belonging to members of the Royal family: George III, George IV, the Duke and Duchess of York, Princess Charlotte of Wales, William IV, and Queen Victoria.