Portrait of Margery Angelo Swynnerton, 1917, by ...

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A fine quality portrait of an attractive young woman, the artist's daughter, painted in 1917 when she was 23; in its original frame.

FREDERICK SWYNNERTON (1858-1918) was a painter of some distinction. Born in Douglas on the Isle of Man, he was a Fellow of the Society of Antiquaries of London and lectured on Manx prehistoric remains.
He was taught painting first in Rome, where he lived in the ménage kept by his older brother, the sculptor Joseph William Swynnerton and his wife, Annie, the painter and suffragette, who was elected to the Royal Academy. He bought the wall-paintings of the Domus Aurea whilst in Rome; they are now in the British Museum.
He went on to the Académie Julian in Paris and then set out for India, to make a career for himself as a portrait painter. He married the daughter of an Anglo-Italian fencing and soldiering family, Louise Oldfield Angelo, and lived with them in Simla. Louise died in 1941.

Swynnerton painted portraits of many of the important Europeans in India. He died suddenly in Bombay in 1918, the year after he painted this portrait, and is buried at the Sewri Christian Cemetery.

Margery Augustus Angelo Swynnerton, was born in Delhi, Bengal on the 15th August 1894. She died in the UK in 2000. When this portrait was painted in 1917, her father had visited her in Bombay where she was recovering from pneumonia, caught in Iraq, whilst nursing wounded troops. She was also an artist.

SIZE:38 x 31.5 x 2.25 inches including the frame.
PROVENANCE: by direct descent in the family.
Verso: Old storage label for Allen's Depository, Colwyn Bay, and the handwritten name 'Angelo'.


Portrait sketch of Lady Francklin c.1675; Studio ...

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Oil on canvas in a modern frame; the portrait has been conserved, which included lining and new stretchers.

This portrait, a preparatory 'ad vivum' oil sketch for a finished version to be done in the studio, is of great interest. This portrait formed the basis for a more complete portrait now in a private collection in America. Oil sketches were often made ‘from life’ and then taken back to the studio to be worked up. This way copies could be made with ease and the sitters wouldn’t have to sit for too long.
The portrait is interesting on several levels; it is a window into how the fashionable artists of the period coped with the tremendous demand for their work. They established what was almost a production line using several talented assistants, supervised by the Great Man himself. Many of these assistants went on to secure fame and fortune in their own right using the invaluable experience gained in the Master's studio.
It also interesting to note how this rapidly painted portrait has a real vivacity and presence occasionally lacking in some 'over-finished' finished studio products ...this sitter is 'there', on the canvas, as seen with great immediacy, by the artist. it is as if we look directly through his eyes.

The FRANCKLIN family of Bedfordshire. This is an Anglo-Saxon occupational surname meaning “the franklin”, which means “the freeholder”, deriving from the Middle English word frankelein, and earlier the Old French fraunclein. The was a feudal title during the Middle Ages, which generally referred to a person who a freeman and holder of sizeable areas of lands, a gentlemen who ranked above the minor class, but was not as high as a knight or member of the nobility.
The first Bedfordshire Francklin was William Francklin of Thurleigh in the eary/mid 15th century, the youngest son of Robert Francklin of Skipton-in Craven, Yorkshire.
The Francklins of Bedfordshire were significant land owners, and there are memorials to them in the churches of Great Barford and Bolnhurst, among others. They were at Bolnhurst from 1483 to 1944.
Possibly this lady is the one who married Sir William Francklin, knighted in 1675. Further research is required.

SIR PETER LELY (1618 - 1680) was the most important portraitist in the reign of Charles ll, although he had painted portraits throughout the Commonwealth. Principal Painter to the King, he painted everyone of importance, maintaining a busy and active Studio to help with the huge demand for his portraits. Members of his Circle, and his Followers, many of them talented artists in their own right, emulated his style to supply this constant market.
SIZE: canvas, 53 x 43 cm. Framed, 65 x 55 cm.
PROVENANCE: Private Collection, England.

Portrait of a Lady 1631, by Jan ...

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Oil on marouflaged panel in good quality 18th century carved and giltwood frame.
Signed with initials and dated 'Anno. 1631. JVR" upper right.

A superb portrait of a gently smiling young woman; she wears a pearl necklace, the essential accessory of the period, but modestly conceals it beneath her fine muslin. No such modesty however, for the magnificent jewellery she wears across her bosom.
Her black clothing, fashionably slashed, is of the finest quality, beautifully decorated and contrasting with the exquisite white lace spread across her shoulders. In the work of great portraitists black is never dull, its pictorial potential is fully utilised. 
Black is an ideal background against which gold can stand out to dramatic effect and to contrast with the crisp white linen and lace. This extreme opposition between black and white is both austere and exciting, and is a characteristic feature of the 17th century Dutch portrait.

The theory has been put forward that the sitter is Amalia van Solms, wife of the Dutch Stadtholder (and grandmother of England's William III), who was painted many times by many different artists.
However, we consider this unlikely, as does Fred Meijer, curator at RKD, Netherlands Institute for Art History, at The Hague. 'While it is totally conceivable that Amalia van Solms sat for van Ravesteyn, I do not see any striking resemblance. Otherwise this appears to be a fully characteristic work by the artist.'
Regardless of the identity of the sitter this is a superb and sensitive portrait by a famous artist from the Netherland's Golden Age of painting.

(c. 1572-1657) was one of the most important and successful Northern Netherlandish portrait painters of the first half of the seventeenth century, and the leading portraitist of the government centre, The Hague. He was working there for the Stadholder's Court, for local patricians and for the upper classes of other cities in the Southern part of Holland and in Zeeland. 
His sitters are often depicted with rich costumes in the latest fashion, intentionally alluding to their wealth and status.
His earliest signed work is the well-known tondo portrait of the young Hugo Grotius, dated 1599 (Fondation Custodia, Paris). 
As early as 1604 Karel van Mander mentioned the artist as one of the most competent portraitists of his time. A large number of signed and dated works from the next decades - especially from the year 1611 - are known, including several group portraits of the Hague civic guard. 
The last dated portraits are from 1641, leading to the conclusion that the painter produced little, if anything, in the last fifteen years of his life. The general style of his work is closely related to that of the Delft portraitist Michiel Jansz. van Mierevelt (1567-1641), but is generally less dry and often more flattering than the latter’s.
SIZE: 28 x 24.25 inches panel size.
34.5 x 31.5 inches inc. frame.
*Collection of Alfred Morrisson M.P. of Fonthill House, Tisbury, Wiltshire. (see image 10). Alfred Morrisson (1821-1887) was an outstanding collector of fine and rare items.
*Latterly in the Private Collection of a Lady.
VERSO: two Victorian printed labels bearing much information of "M & B Bartington; Est. 1836. No. 58 Wardour Street, Soho" framer and restorer.
Victorian handwritten label "Alfred Morrisson Esq. No. 106. Three quarter picture of Dutch Lady by Jan van Ravesteyn. 20/12/87".

Delft charger, 18th century.

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A handsome hand-painted Delft charger c.1770, very much influenced by Chinese porcelain patterns. As is common with this material the edges of the plate are chipped and it has been broken in half and glued.
13.5 inches in diameter.
PROVENANCE: Gloucestershire private collection.

Still life of Fruit, Flowers and a ...

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A large oil on canvas, painted at the turn of the 19th century, in the Dutch 17th century manner.
The painting is signed, but only the first name 'Karl' is legible. Although not yet identified, it is obvious that the artist was highly skilled, as this is a fine quality work.

Northern Renaissance artists popularized still life iconography with their flower paintings. These pieces typically show colourful flora “from different countries and even different continents in one vase and at one moment of blooming” (Metropolitan Museum of Art) and often do not feature other subject matter. These paintings rose to prominence in the early 17th century, when these artists grew increasingly interested in creating realistic studies of everyday items.

The height of still life painting came in 17th century Holland. Artists such as Jan Brueghel, Pieter Clausz, and others, painted opulent, highly detailed, and realistic images of flower bouquets and tables laden with lavish bowls of fruit and game. These paintings celebrated the seasons and reflected the era's scientific interest in the natural world. They also served as status symbols and were highly sought after.

The inclusion of parrots with still-life paintings is interesting, because it connects parrots to the material world, wealth, and trade. As an exotic creature from non-European lands, parrots were highly prized during the colonial period; and it wasn’t just the live birds that were valued, in the colonial era the plucked feathers of parrots were valued too.
SIZE: 50 x 39 inches including the frame.
PROVENANCE: Northern England.
CONDITION: The painting has an old V-shaped damage, about 18 inches in length at its longest point; this is not visible all the time, but shows up in some angles and lights. This can be seen in the last image. Despite this, the painting is still a beautiful and highly decorative item, and is being offered at a fraction of the price it would command if undamaged. A large quality item at little cost.

Double Portrait of a Lady and Gentleman ...

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Oil on canvas now mounted on board in fine period carved and giltwood frame.

This type of small scale portrait is known as a conversation piece and .."was the first real break with the stereotyped portraiture of the early 18th century. It was essentially a private rather than a public art form.
The aim of the coversation piece was to catch the sitter with family and friends in action, and Hogarth, a friend of Hayman's, succeeded extremely well at this." (Francis Hayman by Brian Allen).

Hogarth was a positive influence on Hayman as he had demonstrated that there was a good market for the small scale conversation piece.

In this portrait the male sitter has discarded his wig and wears a velvet cap of the type associated with artists, writers and other creative people. He also wears an expensive silk 'tea gown' to emphasise his relaxation at home. It is clear that the world of literature is being emphasised...a door opens onto a library, more books are on the table and the lady holds a volume with her finger marking her place.

The middle class panelled room is typical of Hayman and occurs many times in his conversation pieces and are, more often than not, a version of his own panelled studio.

FRANCIS HAYMAN R.A. (c.1708-1776) was born in Devon and painted scenery as well as genre, historical subjects and portraits. He had a successful career producing conversation pieces, theartical portraits and small full lengths through the 1740s and 50s, although he also painted on the scale of life. He helped in the foundation of the Society of Artists in 1760 and was President 1766-68; after which he became a Foundation Member of the Royal Academy, and its Librarian in 1771.
Among the pupils in his studio were Thomas Gainsborough R.A. and Nathaniel Dance R.A.

SIZE: 30 x 35 inches inc. frame.
PROVENANCE: Verso, handwritten label "Property of Major J.M.D. Wyatt, Roberstbridge House, Robertsbridge, Sussex"
The late major was the last member of the family which had connections with the D'Obrees in Guernsey.


Portrait Bust of a Renaissance Maiden c.1890 ...

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An extremely beautiful Art Nouveau cold painted terracotta bust of a young woman, possibly Beatrice ...Dante's muse. The sitter's eyes are modestly downcast but her posture is erect and proud. In her headband are set a number of opalines. Opaline is a man-made semi-crystal which is equally beautiful and special like natural crystals. It is a stone of love, compassion, and generosity.
In this sculpture is encapsulated the essence of Art Nouveau.

In 1885, Friedrich Goldscheider came from the Bohemian city of Pilsen to Vienna and founded the Goldscheider Porcelain Manufactory and Majolica Factory. It became one of the most influential ceramic manufactories of terracotta, faience and bronze objects in Austria, with subsidiaries in Paris, Leipzig and Florence. For over half a century, Goldscheider created masterpieces of historical revivalism, Art Nouveau (Jugendstil) and Art Deco.
Famous artists such as Josef Lorenzl, Stefan Dakon, Ida Meisinger and the two perhaps best known Austrian ceramic artists (Michael Powolny and Vally Wieselthier) worked for Goldscheider. Several of the artists who worked for him also worked for other Viennese studios, such as Augarten, Keramos or for the German brands Rosenthal and Meissen. More than 10,000 different models were created over a period of three generations. Since the very beginning, many of these won first prizes and gold medals at innumerable world fairs, exhibitions and trade fairs. Goldscheider figures are nowadays very much sought after by collectors worldwide.
SIZE: 19 inches tall.
CONDITION: Good, original patina, some slight rubbing as is to be expected.
PROVENANCE: Yorkshire Private Collection.
VERSO: Foundry stamp and numbers.

Portrait of Sir James Richardson c.1680, Attributed ...

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Traditionally known as Sir James Richardson, the portrait is in oil on canvas in a fine period oval giltwood frame.
As can be seen to the right of the portrait there is a fragment of a well painted feigned carved stone oval. Clearly this portrait was once rectangular and was a feigned oval before being made into a real one, so this fragment is an interesting footnote to the painting's history.

This is a typically truthful and discerning portrait by Riley.The sitter regards us with the stern and penetrating gaze of a Scottish Laird; he wears extremely costly lace, and his breastplate seems to be inlaid with gold. The armour, depicted so well by the artist, does not necessarily imply a martial career for Sir James, it is there to suggest an ancient aristocratic lineage.
It is likely that this portrait was painted to commemorate his succession to the title in 1680.

SIR JAMES RICHARDSON, 4th Baronet Pencaitland of Pitfour Castle, Co. Perth. He was the son of Sir James, 3rd Baronet and Anne McGill. Married Lady Margaret Kerr, daughter of William Kerr, 1st Earl of Lothian, and Lady Anne Kerr, in 1666. Sir James sold the estate in 1708 and died in 1717.

JOHN RILEY, or Ryley, (1646 – 1691) was an English portrait painter. He painted portraits of Charles II and James II, and was court painter to William III and Mary II. Riley studied painting under Isaac Fuller and Gerard Soest, and from the latter learnt a forcible, straightforward style of portraiture which rendered his portraits noteworthy. Riley did not attain much eminence until the death of Sir Peter Lely, when courtier and royal official Thomas Chiffinch sat for him, and was so much pleased with his portrait that he showed it to the king. Charles II gave Riley some commissions, and eventually himself sat for him, apparently saying of the result: "Is this like me? Oddsfish, then I'm an ugly fellow!" Riley also painted James II and Mary of Modena, and, on the accession of William III and Mary II, he was appointed Principal Painter in Ordinary, jointly with Sir Godfrey Kneller, though he only survived for three years after this.
Riley was said to be a quiet, modest man, very diffident of his own art, but his portraits are truthful and lifelike. With more self-confidence he might have attained to the position of Lely or Kneller.
He was assisted in painting (at least) his draperies and accessories by John Closterman, who finished several of Riley's pictures after his death.

SIZE: canvas 30 x 25 inches. Overall 37x 33 x 2.5 inches.
PROVENANCE: English Private Collection.
Verso; label for Jolly's department store in Bath. Pencil annotation 'over fire drawing room'

Portrait of Philippe II, Duke of Orleans ...

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Oil on canvas in a good quality reproduction frame.

This is a superb quality painting, the depiction of the various materials...silk, lace, gold, steel, hair and flesh is exquisite. Hands are often problematic with lesser artists but here they are totally realistic.
The Duke wears the Bourbon white silk sash and holds the baton of command of a high ranking officer.

PHILIPPE II, DUKE OF ORLEANS (1674-1723), Regent of France, the son of Philip I, duke of Orleans, and his second wife, the princess palatine, was born on the 2nd of August 1674, and had his first experience of arms at the siege of Mons in 1691. His marriage with Françoise-Marie de Bourbon, Mlle. de Blois, the legitimized daughter of Louis XIV, won him the favour of the king. He fought with distinction at Steinkerk, Neerwinden and Namur (1692-95). During the next few years, being without employment, he studied natural science. He was next given a command in Italy (1706) and in Spain (1707-08) where he gained some important successes, but he cherished lofty ambitions and was suspected of wishing to take the place of Philip V on the throne of Spain. Louis XIV was angry at these pretensions, and for a long time held him in disfavor. In his will, however, he appointed him president of the council of regency of the young King Louis XV (1715). After the death of the king, the duke of Orleans went to the parlement, had the will annulled, and himself invested with absolute power. At first he made a good use of this, counselling economy, decreasing taxation, disbanding 25,000 soldiers and restoring liberty to the persecuted Jansenists. But the inquisitorial measures which he had begun against the financiers led to disturbances.

There existed a party of malcontents who wished to transfer the regency from Orleans to Philip V, king of Spain. A conspiracy was formed, under the inspiration of Cardinal Alberoni, first minister of Spain, and directed by the prince of Cellamare, Spanish ambassador in France, with the complicity of the duke and duchess of Maine; but in 1718 it was discovered and defeated. Dubois, formerly tutor to the duke of Orleans, and now his all-powerful minister, caused war to be declared against Spain, with the support of the emperor, and of England and Holland (Quadruple Alliance). After some successes of the French marshal, the duke of Berwick, in Spain, and of the imperial troops in Sicily, Philip V made peace with the regent (1720).

On the majority of the king, which was declared on the 15th of February 1723, the duke of Orleans resigned the supreme power; but he became first minister to the king, and remained in office until his death on the 23rd of December 1723. The regent had great qualities, both brilliant and solid, which were unfortunately spoiled by an excessive taste for pleasure. His dissolute manners found only too many imitators, and the regency was one of the most corrupt periods in French history.

Father: Philip I, Duke of Orléans
Mother: Elizabeth Charlotte, Princess Palatine (b. 1652, d. 1722)
Wife: Françoise-Marie de Bourbon, Mlle. de Blois (b. 1677, m. 1698, d. 1749)
Son: Louis, duke of Orléans (b. 1703, d. 1752)

Santerre was born at Magny-en-Vexin, near Pontoise. A pupil of Bon Boullogne, he began his painting career at a portraitist, with a notable work being a portrait of Marie Leszczynska with the Maison de St Cyr in the background (now at the musée de Versailles). He won a major reputation thanks to his academies. His most notable work is his Susanna Bathing (Louvre), the diploma work executed by him in 1704, when he was received into the Académie (1730–1770) and Jean-Honoré Fragonard (1732–1806). He painted the Duc d'Orleans on several occasions

SIZE: 52.5 x 51.75 inches inc. frame.
PROVENANCE: Private collection, East Kent.

Portrait of Louis XV as a Boy, ...

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Oil on canvas in an elaborate gilded frame.
18th century in the manner of Pierre Gobert (1662-1744). Beautifully painted, with almost a miniaturist's skill, this portrait is of an intimate size, being only 24 inches tall including the frame.

This high quality and animated portrait of Louis XV beautifully captures both the regality of this young king and his childhood innocence.
Louis XV was widely known as Louis Le Bien Aimé or Louis the Beloved and was born at the Palace of Versailles during the reign of his great-grandfather Louis XIV. Louis XV was not expected to become king, he was the third son of the Duke of Burgundy (who became the Grand Dauphin after his father’s death in April 1711) and was given the title of Duke of Anjou. In 1712 the Grand Dauphin’s wife, Marie Adélaïde, died of smallpox and only a week later the Grand Dauphin, heartbroken and ill, also died. It soon became apparent that their two sons, Louis, Duke of Brittany and the Duke of Anjou (Louis XV) had also become infected with smallpox and after several attempts to save the Duke of Brittany’s life, through extensive bloodletting, he died. The Duke of Anjou’s governess, Madame de Ventadour, prevented bloodletting to treat the young prince and ultimately saved his life. Louis survived smallpox and was the heir to the French throne at the age of two.

Whilst the king was an infant the country was governed by a Regency Council of fourteen members including Philippe, Duke of Orléans, nephew of Louis XIV, who was named president. It was Philippe of Orléans who encouraged French decorative arts and helped establish Louis XV’s extravagant style. Louis was curious and open-minded, an intelligent boy who quickly developed eclectic tastes.

In 1721 at the age of eleven, Louis was betrothed to his first cousin Maria Anna Victoria of Spain who was three years old, and the following year he was crowned king in Reims Cathedral. In the two years that followed, the Duke of Bourbon became increasingly concerned with Louis’s health and sought to find an older European princess who could bear children and would become the future queen of France. The king married twenty-one year old Marie Leszczynska, daughter of Stanislaw I, deposed king of Poland, in 1725 when Louis was just fifteen. Four years later after her third pregnancy, the queen gave birth to an heir, another Louis.

Louis XV’s reign was defined by lavish spending, which brought France to the edge of bankruptcy, and wars with England, Austria, the Ottoman Empire and Prussia. Called the ‘First Gentleman of Europe’ he was charming, handsome and intelligent; three attributes present in the face of the young king in this portrait.

PIERRE GOBERT (1662 – 13 February 1744) was a French painter.
He was born in Fontainebleau, the son of the sculptor Jean Gobert. Pierre entered the Royal Academy of Painting and Sculpture on 31 December 1701 as a portraitist. During the reign of Louis XV he became the preferred painter of the great ladies of the court as evidenced by the large collection of portraits that he executed during that time.

SIZE: 23.75 x 22 x 3 inches framed.
PROVENANCE: *Reputably from the Collection of Lady Fraser, Scotland.
* Collection of a Somerset family, originally from Scotland.

George III Chippendale period mahogany chair c.1760. ...

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A fine quality 18th century mahogany chair combining Rococo and Gothic motifs.
Beautiful crisp carving, excellent colour, the best quality dense mahogany and totally sound.
The seat is covered in good quality black hide.

Thomas Chippendale born at Otley, West Riding of Yorkshire, born 1718 – died 1779) was a London cabinet-maker and furniture designer in the mid-Georgian, English Rococo, and Neoclassical styles. In 1754 he published a book of his designs, titled "The Gentleman and Cabinet Maker's Director". The designs are regarded as reflecting the current London fashion for furniture for that period and were used by other cabinet makers outside London.

DIMENSIONS: height 39 inches, width 21.5 inches.
PROVENANCE: Private Collection, Cambridgeshire.

Portrait of a Young Gentleman c.1620, Circle ...

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Oil on canvas in a reproduction frame of appropriate type.
This is a very fine quality painting, probably painted by one of the many talented artists who worked in van Miervelt's studio. The depiction of the lace collar is superb, and the features of the sitter are beautifully observed and painted, giving us a real insight into the character of the young man. He looks candidly at us, with a touch of humour to the eyes and mouth. His lace and the gold buttons on his doublet proclaim him as a person of considerable means.

MICHIEL JANSZOON VAN MIEREVELT, often abbreviated as Michiel Jansz. and the surname also spelled Miereveld or Miereveldt, (1566 – 1641) was a Dutch Golden Age painter.
He registered as a member of the Guild of St. Luke in The Hague in 1625. Devoting himself first to still lives, he eventually took up portraiture, in which he achieved such success that the many commissions entrusted to him necessitated the employment of numerous assistants, by whom hundreds of portraits were turned out in factory fashion. Today over 500 paintings are or have been attributed to him. The works that can with certainty be ascribed to his own brush are remarkable for their sincerity, severe drawing and harmonious colour, but comparatively few of the two thousand or more portraits that bear his name are wholly his own handiwork. So great was his reputation that he was patronised by royalty in many countries and acquired great wealth. The king of Sweden and the count palatine of Neuburg presented him with golden chains; Albert VII, Archduke of Austria, at whose court he lived in Delft, gave him a pension; and Charles I vainly endeavoured to induce him to visit the English court.

Many of his pupils and assistants rose to fame. The most gifted of them were Paulus Moreelse, Jan Antonisz. van Ravesteyn, Daniel Mijtens, Anthonie Palamedesz, Johan van Nes, and Hendrick Cornelisz. van Vliet. His sons Pieter (1596–1623) and Jan (died 1633), and his son-in-law Jacob Delff, probably painted many of the pictures which go under his name. His portrait was painted by Anthony van Dyck and engraved by Jacob Delff.

SIZE: 27 x 23.5 x 1.25 inches including the frame.
PROVENANCE:* Formerly the property of the Raymond-Barker family late of Fairford Park, Gloucestershire.
*Gloucestershire Private Collection.
Verso: Framer's label.