Peter Tillemans

(16841734 ) - Artworks
TILLEMANS Peter A Panoramic View Of Chatsworth House And Park

Christie's /Jul 3, 2012
310,173.76 - 434,243.27
330,421.92

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
75

Some works of Peter Tillemans

Extracted between 75 works in the catalog of Arcadja
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.
Peter Tillemans - A Panoramic View Of Chatsworth House And Park

Peter Tillemans - A Panoramic View Of Chatsworth House And Park

Original
Estimate:

Price:

Gross Price
Lot number: 60
Other WORKS AT AUCTION
Description:
Lot Description Pieter Tillemans (Antwerp 1684-1734 Norton, near Bury St. Edmunds) A panoramic view of Chatsworth House and Park, with mares and foals in the foreground signed 'P. Tillemans. F.' (lower right) oil on canvas 26 1/8 x 68 1/8 in. (66.3 x 173.1 cm.) Provenance Lord George Augustus Cavendish (d.1794), Holker Hall, Lancashire, where recorded in the Drawing Room in a list of 1776 ('The sizes of pictures at Holker that are in any way fit for hanging up'), and by inheritance through his nephew, George Augustus Henry Cavendish, 1st Earl of Burlington (1754-1834), and by descent through his grandson, William, 2nd Earl of Burlington and 7th Duke of Devonshire (1808-1891), and his grandson, Lord Richard Cavendish (1871-1946), at Holker Hall, to the present owner. Pre-Lot Text THE PROPERTY OF A GENTLEMAN Literature J. Harris, The Artist and the Country House, London, 1979, p. 233, no. 251. R. Raines, 'Peter Tillemans, Life and Work, with a list of representative paintings', in The Walpole Society, XLVII, 1978-1980, p. 48, no. 25. View Lot Notes › Chatsworth was built by 'Bess of Hardwick' (c. 1527-1608) and her second husband Sir William Cavendish (1505-1557), and remained little changed until 1686, when William, 4th Earl and 1st Duke of Devonshire (1640-1707), embarked on an ambitious programme of remodelling which was only completed shortly before his death. For over a century, the house then remained largely as seen in this great panorama, until the celebrated 'Bachelor Duke', the 6th Duke of Devonshire, engaged Sir Jeffry Wyatville to build the long North Wing in the early nineteenth-century. John Harris, who dates this picture to the mid-1720s, comments that none of the four other recorded views of Chatsworth by Tillemans 'come up to the quality of the Holker example'. Harris also notes Tillemans's 'mastery of the equine form with his horses strung out like a classical frieze'. The artist painted other houses in the north, including Newstead, whose owner -- the 4th Lord Byron -- he taught, and Knowsley. His work at Knowsley for James Stanley, 10th Earl of Derby is well documented. It is interesting to note that the three most prominent foals in the foreground have the four socks and blaze of their presumed father, Flying Childers. By The Darley Arabian out of Betty Leedes, Childers (whose prefix 'Flying' was a sobriquet added later as his racing performances grew into legend), was foaled in 1715 and sold as a yearling to William, 2nd Duke of Devonshire. After an exceptionally long career, during which he was never beaten, he retired to stud at Chatsworth. The most influential mare at Chatsworth in the mid-1720s was Old Ebony by Basto. The 'No. 5 Family' - one of the principal female bloodlines - has her as its founding matriarch, and approximately 7 of all thoroughbreds descend from it in the direct female line. Old Ebony was black, a rare colour in high class stock, and it seems highly likely she is the mare shown to the left of the group. While it might be presumed that this picture was painted for William, 3rd Duke of Devonshire (1698 1755), the father of its first recorded owner, Lord George Augustus Cavendish, or indeed for his father, William, 2nd Duke of Devonshire (1672-1729), it is perhaps more likely that this was commissioned for the latter's daughter, Lady Elizabeth Cavendish or her husband, Sir Thomas Lowther, 2nd Bt. of Marske (d. 1745), at the time of their marriage in 1725. Lowther sold a notable copy after Titian by Rubens to Lord Derby, and significantly a watercolour, now lost, of Furness Abbey, which Sir Thomas had inherited in 1705 is recorded at Holker in 1776. Sir Thomas and Lady Elizabeth's only son, Sir William Lowther, 3rd Bt (1727-1753) left Holker and the other estates inherited from his father to his mother's nephew, Lord George Augustus Cavendish. We are grateful to David Oldrey and Tim Cox for their thoughts on the identification of the horses.
Peter Tillemans - A Grey Mare And A Foal In An Extensive Hilly Landscape

Peter Tillemans - A Grey Mare And A Foal In An Extensive Hilly Landscape

Original
Estimate:

Price:

Lot number: 547
Other WORKS AT AUCTION
Description:
Lot 547 PIETER TILLEMANS (FLEMISH 1684-1734) A GREY MARE AND A FOAL IN AN EXTENSIVE HILLY LANDSCAPE Signed, oil on canvas 172.7cm x 151.2cm (68in x 59.5in) Estimate £50,000-70,000 Provenance: John Sheppard Esq, Campsey Ash High House Note: Along with John Wootton and James Seymour, Peter Tillemans is one of the founding artists of the British Equestrian Painting School. Born in Antwerp and the son of a diamond cutter Tillemans studied under various artists but was chiefly influenced by the Flemish school of painting of Brueghel and David Teniers the Younger as opposed to the voluptuous Baroque style of Peter Paul Rubens. Tillemans moved to England in 1708, quickly becoming a prominent figure in the art and sporting circles. In 1711 he was among the group who met in Great Queen Street, in London, to form the first Academy of Art in the country. He was extensively patronised by the British aristocracy, including the Dukes of Bolton, Devonshire, Rutland and Somerset and the Earls of Derby and Portmore; he also acted as the drawing-master to Lord Byron''s family. As exemplified in the present painting, Tillemans painted a series of very large and impressive horse ''portraits'', which proved so popular that a series of engravings and mezzotints were created from them. These were an important step in the development of horse portraiture in England as little work had been done on Equine anatomy until then. Tillemans in particular insisted on depicting the subjects in these series of portraits in ''different actions and postures'', as noted on the inscription for the first of these series. He treats his subject with much sensitivity and attention to detail. As one of England''s foremost equine artists Tillemans worked at Newmarket, producing impressive compositions such as his 1722 large panoramic view of ''George I and his court on Newmarket Heath'', ''Starting point of the Beacon Course at Newmarket'' and ''End of the Beacon Course''. With Wootton and Seymour he led developments in English art which "show the first marriage of the topographical tradition of landscape with a sporting element"(Ellis Waterhouse, Painting in Britain, 1530 to 1790, Baltimore, MD: Penguin, 1953, p. 215.)
Arcadja LogoProducts
Subscriptions
Advertising
Sponsored Auctions
Subscriptions

Who we are
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr