Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Peter Tillemans

(1684 -  1734 )
TILLEMANS Peter A View Of Chatsworth House And Park From The South-west With Horses And Figures In The Foreground

Bonhams /Dec 5, 2012
184,706.33 - 246,275.10
Not Sold

Find artworks, auction results, sale prices and pictures of Peter Tillemans at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert

 

Variants on Artist's name :

Tillemans P

 

Along with Peter Tillemans, our clients also searched for the following authors:
Albert Jansz. Klomp, Martinus N. Nellius, Aernout Smit, Jacobus Storck, Gerrit Pompe, Pieter Mulier Younger Cavalier Tempesta, Willem Doudijns
Artworks in Arcadja
89

Some works of Peter Tillemans

Extracted between 89 works in the catalog of Arcadja
Peter Tillemans - Tillemans, Peter, After. The View From One-tree Hill In Greenwich Park

Peter Tillemans - Tillemans, Peter, After. The View From One-tree Hill In Greenwich Park

Original
Estimate:

Price:

Lot number: 379
Other WORKS AT AUCTION
Description:
Sale 2450 Lot 379 (LONDON.) Tillemans, Peter, after. The View from One-Tree Hill in Greenwich Park. Large engraved view on laid paper. 17 1/4x27 1/4 inches sheet size; hand-colored; marginal damage repaired and strengthened on verso, repaired tear into image upper edge, several surface scrapes within image. London: Arthur Pond, 1744
Peter Tillemans - A Italianate River Landscape With A Military Company Riding Along The River Bank Towards A Town In The Near Distance

Peter Tillemans - A Italianate River Landscape With A Military Company Riding Along The River Bank Towards A Town In The Near Distance

Original
Estimate:

Price:

Lot number: 91
Other WORKS AT AUCTION
Description:
Lot Description

Peter Tillemans (Antwerp 1684-1734 Norton)

A Italianate river landscape with a military company riding along the river bank towards a town in the near distance

signed 'P. Tillemans F .' (lower left)

oil on canvas

47 x 64.2 cm.

Lot Condition Report

I confirm that I have read this Important Notice and agree to its terms.
View Condition Report
Peter Tillemans - A View Of Chirk Castle

Peter Tillemans - A View Of Chirk Castle

Original
Estimate:

Price:

Gross Price
Lot number: 176
Other WORKS AT AUCTION
Description:
Peter Tillemans (Antwerp c. 1684-1734 Norton, near Bury St. Edmunds) A view of Chirk Castle with elegant figures on horseback in the foreground oil on canvas 20 5/8 x 37½ in. (52.3 x 95.3 cm.)
Artist\’\’\’\’s sale; Christopher Cock\’\’\’\’s, Covent Garden, London, 19-20 April 1733, lot 13, as \‘A View of Chearick Castle in Denbyshire\’\’\’\’. The Rev. Tom Lovett (d. 1932), by whom bequeathed to the father of the present owner.
R. Raines, \‘Peter Tillemans: Life and Work, with a list of representative Paintings\’\’\’\’, Walpole Society, XLVII, 1980, p. 48, under no. 28.
Chirk Castle was built by Roger Mortimer de Chirk in 1295, guarding the entrance to the Ceiriog Valley, as part of King Edward I\’\’\’\’s chain of fortresses across the North of Wales, and was occupied continuously for almost 700 years. The castle was claimed by the throne after the Wars of the Roses, and in 1563 was granted to Elizabeth I\’\’\’\’s favorite, Robert Dudley, soon created Earl of Leicester and Baron Denbigh, who held it as part of his extensive North Wales properties until his death in 1588. It was bought in 1595 for £5,000 by Thomas Myddelton, son of the governor of Denbigh Castle. As a founder of the East India Company and an investor in the expeditions of Drake, Raleigh and Hawkins, Myddleton had the means to convert Chirk into a comfortable Tudor residence. It passed to his son, Sir Thomas, M.P. for Denbigshire from 1625, who was a Parliamentarian during the Civil War, but became a Royalist during the Cheshire Rising of 1659. Following the Restoration, his son became Sir Thomas Myddelton, 1st Bt. of Chirke. The magnificent wrought iron gate-screen at the entrance to the park was crafted by Robert and John Davies of Bersham between 1712 and 1719. It originally stood a little way in front of the main castle gate, but was moved during the landscaping of the park in 1770. The Myddelton family resided at the Castle until 2004 and it is now in the care of the National Trust. This is one of three views of the castle that Tillemans painted. The other two versions, which have passed by descent in the Myddleton family, are larger (93 x 137 cm. and 93 x 198 cm.) and signed (one is also dated \‘1726\’\’ \’\’ or \‘1729\’\’\’\’), one has a drover and mixed herd of cattle and goats in the foreground, while the other has a group of riders (R. Raines, op. cit., p. 48, nos. 27 and 28).
Peter Tillemans - A View Of Chatsworth House And Park From The South-west With Horses And Figures In The Foreground

Peter Tillemans - A View Of Chatsworth House And Park From The South-west With Horses And Figures In The Foreground

Original
Estimate:

Price:

Lot number: 83
Other WORKS AT AUCTION
Description:
Peter Tillemans (Antwerp 1684-1734 Norton)

A View of Chatsworth House and Park from the south-west with horses and figures in the foreground

signed 'P. Tillemans' (lower right)

oil on canvas

63.4 x 121.8cm (24 15/16 x 47 15/16in).

PROVENANCE:

Probably acquired by William Drury Lowe of Locko Park in the 19th century and thence by descent to the present owner

LITERATURE:

J.P. Richter,

Catalogue of Pictures at Locko Park,

1901, p. 98, no. 260

J. Harris,

The Artist and the Country House

(London, 1979), p.233

The present view, which is likely to date from the 1720s, shows the remodelled building as completed for William Cavendish, 1st Duke of Devonshire (1640-1707) just before his death and before Sir Jeffrey Wyatville's large North Wing was built for the 'Bachelor' 6th Duke, which now flanks the main entrance to the north. While the south (and east) fronts were built under the order of William Talman and were completed by 1696, the west (and north) fronts are thought to have been the work of Thomas Archer, possibly in collaboration with the Duke himself.

The prominence of the racehorses in the foreground of the present painting reflects the fact that William, 2nd Duke of Devonshire (1672-1729), was celebrated for his stable. The famously never-beaten Flying Childers, for example, was foaled in 1715 and sold as a yearling to the Duke. Indeed, the markings of the two foals depicted respectively third from the left and to the far right suggest the likely paternity of Flying Childers. The social commentator, Lord Hervey, claimed that 'Devonshire was a man who had no uncommon portion of understanding; and as his chief skill lay in painting, medals, and horses, he was more able as a virtuoso than a statesman, and a much better jockey than he was a politician.' It is likely that Tillemans depicted him here to the left of the composition, riding behind the groom who is shown wearing Cavendish livery.

It seems highly likely, therefore, that it was the 2nd Duke who commissioned the present painting. A patron of Tillemans, William was one of the principal art collectors of his day. Indeed, Sir Anthony Blunt described the Devonshire collection's reputation as 'unequalled at the time in England'. Having bought part of Lord Somers's collection at its dispersal in 1717, in 1723 he bought 225 drawings that had belonged to Nicolaes Anthoni Flinck, whose father, Govaert Flinck, had been a pupil of Rembrandt. In addition to Rembrandt, artists represented in the purchase included Rubens, Raphael, Mantegna, Barocci, and Annibale Carracci.

Three other views of Chatsworth are recorded to have been painted by Tillemans, the others being: at Chatsworth; in a Seabright and Bacon sale; and that formerly in the collection of Mr. and Mrs. R. Cavendish, Holker Hall, Cumberland (unsigned, on canvas, 16.3 x 173.1 cm., in sale, Christie's, London, 3 July, 2012, lot 60). Although Harris (

op. cit.

p. 233) refers to two views of Chatsworth by Tillemans at Locko Park, the 1901 catalogue of the collection only mentions one such work.
Peter Tillemans - Two Studies Of A Gentleman In A Frock Coat And Tricorn

Peter Tillemans - Two Studies Of A Gentleman In A Frock Coat And Tricorn

Original
Estimate:

Price:

Gross Price
Lot number: 5
Other WORKS AT AUCTION
Description:
Peter Tillemans (Antwerp 1684-1734 Norton, nr. Bury St Edmunds) Two studies of a gentleman in a frock coat and tricorn hat pencil and grey wash on paper 5½ x 5¾ in. (14 x 14.6 cm.)
London, W/S Fine Art, Summer 2009, no. 43.
Iolo Williams saw fit to open his history of 18th Century watercolour painting with a mention of the Flemish painter Peter Tillemans, (I. A. Williams, Early English Watercolours, 1952, p. 13). The drawing may be identified with Tillemans on the basis of its similarity with a number of other studies including one of the First Duke of Kingston (Christie's, London, 15 November 1983, lot 33) for Tillemans' painting The Duke of Kingston in the Park of Thoresby Hall, Ollerton (photograph, Witt Library). Another Tillemans drawing, a hunting scene, shows a similar handling of grey wash (Bonham's, London, 6 February 2007, lot 3). Tillemans was the son of an Antwerp diamond-cutter and came to England in 1708 with his brother-in-law Peter Casteels (1684-1749), the artist who specialised in the painting of birds and flowers. Tillemans was originally employed as a copyist of the work of Teniers and others, but progressed as an artist in his own right after attending Kneller's Academy in London. In 1725 he was a painter of sufficient stature in London to be appointed Steward to the Society of Virtuosi of St Luke.

Among other works on paper by Tillemans the most important collection is the set of over two hundred ink drawings (now in the British Library) intended for John Bridges' History of Northamptonshire, and a small group of drawings of Wrest Park, now deposited in the Bedfordshire Record Office. The Northamptonshire drawings are mainly topographical, but the grey wash technique, and the use of strong shadows to give a firm grounding to features within the composition, are common characteristics which are also seen in this drawing. Where figures do appear the dark dots that signify eyes and nose are again paralleled in our study.
Arcadja LogoServices
Subscription
Advertising
Sponsored Auctions
Subscription

Arcadja
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr