Portrait of a Gentleman c.1755; Circle of ...
Item Ref
9184
Oil on canvas in a good quality period hand-carved and giltwood frame.
The sitter looks confidently out at the viewer....the very model of a fashionably and expensively dressed gentleman of the mid Georgian era.
There is an elegant swagger to the pose, but no bluster; a gracious dignity was paramount at this time. As was the fashion he wears a subdued coat, but a highly decorated waistcoat and fine lace.
THOMAS HUDSON (1701 – 26 January 1779) was an English portrait painter.
Hudson was born in Devon in 1701.His exact birthplace is unknown. He studied under Jonathan Richardson in London and against his wishes, married Richardson's daughter at some point before 1725.
Hudson was most prolific between 1740 and 1760 and, from 1745 until 1755 was the most successful London portraitist.
He had many assistants, and employed the specialist drapery painter Joseph Van Aken. Joshua Reynolds, Joseph Wright and the drapery painter Peter Toms were his students.
SIZE: 37 x 32 inches including the frame.
PROVENANCE: Herefordshire private collection.
The sitter looks confidently out at the viewer....the very model of a fashionably and expensively dressed gentleman of the mid Georgian era.
There is an elegant swagger to the pose, but no bluster; a gracious dignity was paramount at this time. As was the fashion he wears a subdued coat, but a highly decorated waistcoat and fine lace.
THOMAS HUDSON (1701 – 26 January 1779) was an English portrait painter.
Hudson was born in Devon in 1701.His exact birthplace is unknown. He studied under Jonathan Richardson in London and against his wishes, married Richardson's daughter at some point before 1725.
Hudson was most prolific between 1740 and 1760 and, from 1745 until 1755 was the most successful London portraitist.
He had many assistants, and employed the specialist drapery painter Joseph Van Aken. Joshua Reynolds, Joseph Wright and the drapery painter Peter Toms were his students.
SIZE: 37 x 32 inches including the frame.
PROVENANCE: Herefordshire private collection.
£3,750
Portrait of a Lady c.1700, by Michael ...
Item Ref
9155
Oil on canvas in a gilt 19th century frame.
This portrait is a fine example of the artist’s eloquent depiction of aristocratic women. In terms of both draughtmanship and pose Dahl’s female portraits are noticeably softer and gentler than Kneller’s, and thus allow for a greater versatility in the expression of feminine beauty.
Dahl’s works are frequently distinguished by a greater attention to the character of the sitter than those of his rivals, and he particularly allowed a softer aspect to the surfaces of his sitter’s costume and drapery. His colours are silvered and luminous, and there is a great charm and sensitivity in the overall expression of the sitter. In this example, the drapery and sitter’s turned head impart a subtle sense of movement. She wears the fashionable 'undress' and her hair is tied with blue silk ribbons.
This painting is absolutely typical of Dahl's highly skilled sensitive portraiture and is of great quality, allowing one to gain an insight into the character of the sitter; here the sitter looks out at the viewer with a quiet and intelligent good humour, with just a hint of seductiveness in her eyes...in every way this is a superb portrait.
MICHAEL DAHL (1659 - 1743).
Dahl was a painter of exceptional talent and regarded as the only really serious rival to Sir Godfrey Kneller, for royal patronage, during the years 1690-1714. Dahl's patterns were undoubtedly indebted to the fashion set by Kneller, but Dahl had a lighter palette, his brushwork applied in shorter and more careful strokes.
His self portrait hangs in the National Portrait Gallery and he is famed for having painted a series of wonderful female portraits for the Duke of Somerset, now at Petworth House, and known as the Petworth Beauties.
Dahl's portraits of members of the royal family hang at Kensington Palace and Windsor and other examples of his work can be found at the Tate and National Maritime Museum, Greenwich.
SIZE:37 x 32 inches including the frame.
PROVENANCE: Possibly a member of the Weldon family of Hampshire. It was in their collection since at least the 1900s when it was in the inventory compiled by Colonel Weldon.
This portrait is a fine example of the artist’s eloquent depiction of aristocratic women. In terms of both draughtmanship and pose Dahl’s female portraits are noticeably softer and gentler than Kneller’s, and thus allow for a greater versatility in the expression of feminine beauty.
Dahl’s works are frequently distinguished by a greater attention to the character of the sitter than those of his rivals, and he particularly allowed a softer aspect to the surfaces of his sitter’s costume and drapery. His colours are silvered and luminous, and there is a great charm and sensitivity in the overall expression of the sitter. In this example, the drapery and sitter’s turned head impart a subtle sense of movement. She wears the fashionable 'undress' and her hair is tied with blue silk ribbons.
This painting is absolutely typical of Dahl's highly skilled sensitive portraiture and is of great quality, allowing one to gain an insight into the character of the sitter; here the sitter looks out at the viewer with a quiet and intelligent good humour, with just a hint of seductiveness in her eyes...in every way this is a superb portrait.
MICHAEL DAHL (1659 - 1743).
Dahl was a painter of exceptional talent and regarded as the only really serious rival to Sir Godfrey Kneller, for royal patronage, during the years 1690-1714. Dahl's patterns were undoubtedly indebted to the fashion set by Kneller, but Dahl had a lighter palette, his brushwork applied in shorter and more careful strokes.
His self portrait hangs in the National Portrait Gallery and he is famed for having painted a series of wonderful female portraits for the Duke of Somerset, now at Petworth House, and known as the Petworth Beauties.
Dahl's portraits of members of the royal family hang at Kensington Palace and Windsor and other examples of his work can be found at the Tate and National Maritime Museum, Greenwich.
SIZE:37 x 32 inches including the frame.
PROVENANCE: Possibly a member of the Weldon family of Hampshire. It was in their collection since at least the 1900s when it was in the inventory compiled by Colonel Weldon.
£9,350
Portrait of a Young Gentleman of the ...
Item Ref
8749
Oil on unlined canvas in a later gilded period style frame.
A good quality 18th century portrait of a gentleman, traditionally held to be Sir Henry Blunt as a young man.
The traditional identification is unlikely, as Sir Henry, the second baronet, was born in 1696 and died in 1759.
The sitter is more likely to be Sir Charles William Blunt, 3rd Baronet (1731-1802).
He was the son of Sir Henry Blunt, 2nd Bt. and Dorothy Nutt. He was baptised on 24 September 1731 at St. Lawrence Poultney, London, England. He was admitted to the Middle Temple.
He married Elizabeth Peers, daughter of Richard Peers and Anna Sophia Symons, on 22 July 1764 at St. George's Church, Queen's Square, London, England. They had nine children and lived at Clery, Hampshire, England.
Blunt died on 29 August 1802 at age 70 at Pullah, near Calcutta, India. He was buried in Calcutta, India
THOMAS HUDSON (1701 – 26 January 1779) was an English portrait painter.
Hudson was born in Devon in 1701.His exact birthplace is unknown. He studied under Jonathan Richardson in London and against his wishes, married Richardson's daughter at some point before 1725.
Hudson was most prolific between 1740 and 1760 and, from 1745 until 1755 was the most successful London portraitist.
He had many assistants, and employed the specialist drapery painter Joseph Van Aken. Joshua Reynolds, Joseph Wright and the drapery painter Peter Toms were his students.
SIZE: 41 x 33.5 inches inc. frame.
PROVENANCE: *By descent.
*Sold at auction 3 March 1982.
*Private Collection, London.
A good quality 18th century portrait of a gentleman, traditionally held to be Sir Henry Blunt as a young man.
The traditional identification is unlikely, as Sir Henry, the second baronet, was born in 1696 and died in 1759.
The sitter is more likely to be Sir Charles William Blunt, 3rd Baronet (1731-1802).
He was the son of Sir Henry Blunt, 2nd Bt. and Dorothy Nutt. He was baptised on 24 September 1731 at St. Lawrence Poultney, London, England. He was admitted to the Middle Temple.
He married Elizabeth Peers, daughter of Richard Peers and Anna Sophia Symons, on 22 July 1764 at St. George's Church, Queen's Square, London, England. They had nine children and lived at Clery, Hampshire, England.
Blunt died on 29 August 1802 at age 70 at Pullah, near Calcutta, India. He was buried in Calcutta, India
THOMAS HUDSON (1701 – 26 January 1779) was an English portrait painter.
Hudson was born in Devon in 1701.His exact birthplace is unknown. He studied under Jonathan Richardson in London and against his wishes, married Richardson's daughter at some point before 1725.
Hudson was most prolific between 1740 and 1760 and, from 1745 until 1755 was the most successful London portraitist.
He had many assistants, and employed the specialist drapery painter Joseph Van Aken. Joshua Reynolds, Joseph Wright and the drapery painter Peter Toms were his students.
SIZE: 41 x 33.5 inches inc. frame.
PROVENANCE: *By descent.
*Sold at auction 3 March 1982.
*Private Collection, London.
£2,950
Portrait of Elizabeth, Countess of Carnarvon c.1650; ...
Item Ref
8978
Oil on canvas in old reproduction frame of the correct period type.
The Countess is depicted in the mythical realm of Arcady, a fshionable conceit of the time.
At the centre of Arcady is the Garden of Love where a figure of Cupid sits atop a fountain.
Elizabeth places her hand in the water...this is a motif much used by Van Dyck and Lely and it makes an allusion to her potential as a wife and mother, recalling Proverbs, chapter 5, verse 18 "Let thy fountain be blessed, and rejoice in the wife of thy youth".
The lamb represents innocence, gentleness, patience and humility....and is,of course, an emblem of Chtistianity.
There is little doubt that this portrait represents a celebration of Elizabeth's forthcoming marriage.
ELIZABETH CAPEL (1633-1678) was baptised on 4 June 1633 at Hadham Parva, Hertfordshire, England. She was the daughter of Arthur Capel, 1st Baron Capel of Hadham, and Elizabeth Morrison.
She married Charles Dormer, 2nd Earl of Carnarvon, son of Robert Dormer, 1st Earl of Carnarvon and Lady Anna Sophia Herbert, before 1653.
Her father was executed by Parliament for Royalist activities during the Civil War in 1649.
The Carnarvons and the Capels were great patrons of Sir Peter Lely and the miniaturist Richard Gibson both of whom painted numerous portraits of Elizabeth and her family in the 1650s.
Tha Capel family were great flower lovers; Elizabeth, Lady Carnarvon was a talented flower painter, her brother did much to develop the gardens at Kew, and her sister, the Duchess of Beaufort, developed the gardens at Badminton and Beaufort House.
The marriage produced a daughter, Lady Elizabeth Dormer, born in 1653 and died aged 24 the year before her mother, who was herself only 45.
The Countess was buried on 6 August 1678 at Wing, Buckinghamshire, England.
DAVID DES GRANGES (1611-c.1671-2)was a miniaturist but also painted on the scale of life. He married a member of the Hoskins family of artists.
He was employed by both Charles I and II. In 1658 he was described as a portraitist on the scale of life (Sanderson, Graphice, 1658).
Signed and dated portraits of 1632 and 1662 (Sir Robert Chester)are known.
The large painting of the Saltonstall family in the Tate Gallery is traditionally attributed to him.
SIZE:58 x 47.5 inches inc. frame.
PROVENANCE:
*Alexander Edward Murray VC, DSO, MVO, DL (1872-1962), , 8th Earl of Dunmore.
*Christie's, London, 4 March 1932 as 'Lely' (5 gns. to F. Howard).
*Collection of J.W. Delditt.
*Sold by Woods Interior Design, Harrogate, Yorkshire.
*Burrow Hall, Kirkby Lonsdale, Cumbria.
*With Roy Precious Fine Art.
*Collection of a Fellow of a Cambridge College.
VERSO: Old red wax coat of arms collection seal.
Hand written inscription in Polish (?)
Old London framers label.
Old hand written label:"the property of J W Delditt, Great Tower St."
The Countess is depicted in the mythical realm of Arcady, a fshionable conceit of the time.
At the centre of Arcady is the Garden of Love where a figure of Cupid sits atop a fountain.
Elizabeth places her hand in the water...this is a motif much used by Van Dyck and Lely and it makes an allusion to her potential as a wife and mother, recalling Proverbs, chapter 5, verse 18 "Let thy fountain be blessed, and rejoice in the wife of thy youth".
The lamb represents innocence, gentleness, patience and humility....and is,of course, an emblem of Chtistianity.
There is little doubt that this portrait represents a celebration of Elizabeth's forthcoming marriage.
ELIZABETH CAPEL (1633-1678) was baptised on 4 June 1633 at Hadham Parva, Hertfordshire, England. She was the daughter of Arthur Capel, 1st Baron Capel of Hadham, and Elizabeth Morrison.
She married Charles Dormer, 2nd Earl of Carnarvon, son of Robert Dormer, 1st Earl of Carnarvon and Lady Anna Sophia Herbert, before 1653.
Her father was executed by Parliament for Royalist activities during the Civil War in 1649.
The Carnarvons and the Capels were great patrons of Sir Peter Lely and the miniaturist Richard Gibson both of whom painted numerous portraits of Elizabeth and her family in the 1650s.
Tha Capel family were great flower lovers; Elizabeth, Lady Carnarvon was a talented flower painter, her brother did much to develop the gardens at Kew, and her sister, the Duchess of Beaufort, developed the gardens at Badminton and Beaufort House.
The marriage produced a daughter, Lady Elizabeth Dormer, born in 1653 and died aged 24 the year before her mother, who was herself only 45.
The Countess was buried on 6 August 1678 at Wing, Buckinghamshire, England.
DAVID DES GRANGES (1611-c.1671-2)was a miniaturist but also painted on the scale of life. He married a member of the Hoskins family of artists.
He was employed by both Charles I and II. In 1658 he was described as a portraitist on the scale of life (Sanderson, Graphice, 1658).
Signed and dated portraits of 1632 and 1662 (Sir Robert Chester)are known.
The large painting of the Saltonstall family in the Tate Gallery is traditionally attributed to him.
SIZE:58 x 47.5 inches inc. frame.
PROVENANCE:
*Alexander Edward Murray VC, DSO, MVO, DL (1872-1962), , 8th Earl of Dunmore.
*Christie's, London, 4 March 1932 as 'Lely' (5 gns. to F. Howard).
*Collection of J.W. Delditt.
*Sold by Woods Interior Design, Harrogate, Yorkshire.
*Burrow Hall, Kirkby Lonsdale, Cumbria.
*With Roy Precious Fine Art.
*Collection of a Fellow of a Cambridge College.
VERSO: Old red wax coat of arms collection seal.
Hand written inscription in Polish (?)
Old London framers label.
Old hand written label:"the property of J W Delditt, Great Tower St."
£8,950
Portrait of a Young Girl c.1670; Circle ...
Item Ref
8655N
Oil on canvas in a reproduction gilt frame.
The sitter, standing by a stone balustrade and looking at the roses, seems to have become aware of the viewer and turns with a half smile and a mildly inquiring look.
This is a fine quality painting showing the expertise of the artist in the depiction of very different things...the fresh young skin of the sitter, the hard stone of the balustrade, the fragility of the flowers and the soft lustrous silks of the girl's clothing.
The flowers are highly symbolic, they are the attribute of Spring personified...and the girl is in the Spring of her life. They also represent Smell, one of the Five Senses, and of the goddesses Flora and Aurora. They are sometimes the attribute of Hope and they represent the fleeting quality of life and the evanescent quality of childhood.
The rose, of course, is also a symbol of love.
ABRAHAM VAN DEN TEMPEL (c.1622 – 8 October 1672) was a Dutch Golden Age painter.
He probably learned painting from his father, also a painter, but who died when he was still quite young, in 1636. That is the same year that he moved to Amsterdam, where he stayed until 1647, whereupon he moved to Leiden.
According to Houbraken he was the son of a Mennonite preacher in Leeuwarden who was a respected art teacher. His father was Lambert Jacobsz (or Jacobszoon), who had taught Govert Flinck and Jacob Adriaensz Backer in their youth, both of whom were artists from Mennonite families.
Abraham took the name Tempel because when he studied in Leiden, he lived in a house there with a relief of a Tempel in the keystone. He became a pupil of Jacob Backer, and studied mathematics at Leiden University. He met with great success with the Leiden city council, earning several generous commissions, including a series of three large allegorical paintings on the cloth industry of Leiden for the Cloth Hall which still hang in their original place today in the Stedelijk Museum De Lakenhal.
He became Master of the Guild of St. Luke in 1657 and in 1659 he was Chartermaster. In 1660 he returned to Amsterdam. His pupils were Frans van Mieris the Elder, Carel de Moor, Michiel van Musscher, Ary de Vois, and Isaac Paling.
Our thanks to Villa Nuova Fine Arts.
SIZE: 31.50 x 27 inches framed. (80 x 68.5 cm)
Canvas size: 24 x 19.5 inches (61 x 49 cm).
PROVENANCE: private collection.
VERSO: old printed label: 'Maas. Portrait of a girl plucking roses'.
The sitter, standing by a stone balustrade and looking at the roses, seems to have become aware of the viewer and turns with a half smile and a mildly inquiring look.
This is a fine quality painting showing the expertise of the artist in the depiction of very different things...the fresh young skin of the sitter, the hard stone of the balustrade, the fragility of the flowers and the soft lustrous silks of the girl's clothing.
The flowers are highly symbolic, they are the attribute of Spring personified...and the girl is in the Spring of her life. They also represent Smell, one of the Five Senses, and of the goddesses Flora and Aurora. They are sometimes the attribute of Hope and they represent the fleeting quality of life and the evanescent quality of childhood.
The rose, of course, is also a symbol of love.
ABRAHAM VAN DEN TEMPEL (c.1622 – 8 October 1672) was a Dutch Golden Age painter.
He probably learned painting from his father, also a painter, but who died when he was still quite young, in 1636. That is the same year that he moved to Amsterdam, where he stayed until 1647, whereupon he moved to Leiden.
According to Houbraken he was the son of a Mennonite preacher in Leeuwarden who was a respected art teacher. His father was Lambert Jacobsz (or Jacobszoon), who had taught Govert Flinck and Jacob Adriaensz Backer in their youth, both of whom were artists from Mennonite families.
Abraham took the name Tempel because when he studied in Leiden, he lived in a house there with a relief of a Tempel in the keystone. He became a pupil of Jacob Backer, and studied mathematics at Leiden University. He met with great success with the Leiden city council, earning several generous commissions, including a series of three large allegorical paintings on the cloth industry of Leiden for the Cloth Hall which still hang in their original place today in the Stedelijk Museum De Lakenhal.
He became Master of the Guild of St. Luke in 1657 and in 1659 he was Chartermaster. In 1660 he returned to Amsterdam. His pupils were Frans van Mieris the Elder, Carel de Moor, Michiel van Musscher, Ary de Vois, and Isaac Paling.
Our thanks to Villa Nuova Fine Arts.
SIZE: 31.50 x 27 inches framed. (80 x 68.5 cm)
Canvas size: 24 x 19.5 inches (61 x 49 cm).
PROVENANCE: private collection.
VERSO: old printed label: 'Maas. Portrait of a girl plucking roses'.
£8,450
Portrait of a Young Lady c.1770; Attributed ...
Item Ref
8568
69A beautiful portrait of an attractive young woman, painted in the Neoclassical fashion of the second half of the eighteenth century, much favoured by Kauffman.
ANGELICA KAUFFMAN R.A. (1741—1807), in full Maria Anna Catharina Angelica Kauffman, Kauffman also spelled Kauffmann or Kaufmann, was a painter in the early Neoclassical style.
The daughter of Johann Joseph Kauffmann, a painter, Angelica was a precocious child and a talented musician and painter by her 12th year. Her early paintings were influenced by the French Rococo works of Henri Gravelot and François Boucher. In 1754 and 1763 she visited Italy, and while in Rome she was influenced by the Neoclassicism of Anton Raphael Mengs.
She was persuaded by Lady Wentworth, wife of the English ambassador, to accompany her to London in 1766. She was well received and was particularly favoured by the royal family. Sir Joshua Reynolds became a close friend, and most of the numerous portraits and self-portraits done in her English period were influenced by his style of portrait painting.
Her name is found among the signatories to the petition for the establishment of the Royal Academy, and in its first catalogue of 1769 she is listed as a member. She was one of only two women founding members.
During the 1770s Kauffmann was one of a team of artists who supplied the painted decorations for Adam-designed interiors (e.g., the house at 20 Portman Square, London, which was home to the Courtauld Institute Galleries for more than 60 years). Kauffmann retired to Rome in the early 1780s with her second husband, the Venetian painter Antonio Zucchi.
Kauffmann’s pastoral and mythological compositions portray gods and goddesses. Her paintings are Rococo in tone and approach, though her figures are given Neoclassical poses and draperies. Kauffmann’s portraits of female sitters are among her finest works.
SIZE: 27 x 23 inches inc. frame.
PROVENANCE: Anon. sale at Christie's 21 March 1975, lot 113 as by Angelica Kauffman.
Private Collection, Berkshire.
VERSO: old Christie's stencils, catalogue entry from 1975 sale.
ANGELICA KAUFFMAN R.A. (1741—1807), in full Maria Anna Catharina Angelica Kauffman, Kauffman also spelled Kauffmann or Kaufmann, was a painter in the early Neoclassical style.
The daughter of Johann Joseph Kauffmann, a painter, Angelica was a precocious child and a talented musician and painter by her 12th year. Her early paintings were influenced by the French Rococo works of Henri Gravelot and François Boucher. In 1754 and 1763 she visited Italy, and while in Rome she was influenced by the Neoclassicism of Anton Raphael Mengs.
She was persuaded by Lady Wentworth, wife of the English ambassador, to accompany her to London in 1766. She was well received and was particularly favoured by the royal family. Sir Joshua Reynolds became a close friend, and most of the numerous portraits and self-portraits done in her English period were influenced by his style of portrait painting.
Her name is found among the signatories to the petition for the establishment of the Royal Academy, and in its first catalogue of 1769 she is listed as a member. She was one of only two women founding members.
During the 1770s Kauffmann was one of a team of artists who supplied the painted decorations for Adam-designed interiors (e.g., the house at 20 Portman Square, London, which was home to the Courtauld Institute Galleries for more than 60 years). Kauffmann retired to Rome in the early 1780s with her second husband, the Venetian painter Antonio Zucchi.
Kauffmann’s pastoral and mythological compositions portray gods and goddesses. Her paintings are Rococo in tone and approach, though her figures are given Neoclassical poses and draperies. Kauffmann’s portraits of female sitters are among her finest works.
SIZE: 27 x 23 inches inc. frame.
PROVENANCE: Anon. sale at Christie's 21 March 1975, lot 113 as by Angelica Kauffman.
Private Collection, Berkshire.
VERSO: old Christie's stencils, catalogue entry from 1975 sale.
£6,950
Eight pewter plates, 1680 - 1800.
Item Ref
8929
An assortment of pewter plates, triple reed, single reed rims to plain rims, dating between 1680 and 1800.
two with owner's initials to the rim.
Two of the plates are damaged..a triple reed has a piece missing to the rim and a plain rim has three cracks to the rim.
Most of the plates have touchmarks and hallmarks to the back.
SIZES: 9.25 inches to 10.50 inches.
PROVENANCE: The Blue Boar Hotel, Maldon, Essex.
NOTE: if viewing on www.royprecious.co.uk if you go to www.sellingantiques.co.uk/rp you will be able to see more images and have a zoom facility.
two with owner's initials to the rim.
Two of the plates are damaged..a triple reed has a piece missing to the rim and a plain rim has three cracks to the rim.
Most of the plates have touchmarks and hallmarks to the back.
SIZES: 9.25 inches to 10.50 inches.
PROVENANCE: The Blue Boar Hotel, Maldon, Essex.
NOTE: if viewing on www.royprecious.co.uk if you go to www.sellingantiques.co.uk/rp you will be able to see more images and have a zoom facility.
£525
Portrait of a Boy of the Crawley-Boevey ...
Item Ref
8871
Oil on canvas in a giltwood frame.
A charming portrait of a young boy likely to be a member of the Crawley-Boevey family, late 18th century, painted within the feigned oval that was so fashionable at the time.
It is possible that the sitter is Sir Thomas Crawley-Boevey, 3rd Bt., born on 28 November 1769. He was the son of Sir Thomas Crawley-Boevey, 2nd Bt. and Ann Savage. He was baptised on 1 December 1769 at Flaxley Abbey.
He married Mary Albinia Page, daughter of Sir Thomas Hyde Page and Mary Albinia Woodward, on 28 October 1807. He died on 10 January 1847 at age 77 at Flaxley Abbey and was buried there.
The artist is unknown and was probably one of the many provincial portraitists of the 18th century with influences by Kneller, Jervas, Richardson and other top artists; this mixture became a no nonsense, direct style of portraiture typical of the English School.
SIZE: 22 x 19 inches.
PROVENANCE:Collection of the Crawley-Boevey baronets who had Flaxley Abbey, Gloucestershire (see Image 8) as their seat since 1642.
Sold by direction of Sir Lance V.H. Crawley-Boevey (1900-1968) by Bruton, Knowles and Co. at the Six Day Sale of the Contents of Flaxley Abbey. Bought by F. Baden Watkins the new owner of Flaxley.
Lined and restored for Flaxley Abbey Estate Ltd by Frost & Reed Ltd. c. 1965.
Between 1962 and 1963 Flaxley Abbey's interior was restored by Tony Award winning theatre and set designer Oliver Messel.
Philip Baden-Watkins sold much of the Flaxley collection, including this portrait, in March 2015.
A charming portrait of a young boy likely to be a member of the Crawley-Boevey family, late 18th century, painted within the feigned oval that was so fashionable at the time.
It is possible that the sitter is Sir Thomas Crawley-Boevey, 3rd Bt., born on 28 November 1769. He was the son of Sir Thomas Crawley-Boevey, 2nd Bt. and Ann Savage. He was baptised on 1 December 1769 at Flaxley Abbey.
He married Mary Albinia Page, daughter of Sir Thomas Hyde Page and Mary Albinia Woodward, on 28 October 1807. He died on 10 January 1847 at age 77 at Flaxley Abbey and was buried there.
The artist is unknown and was probably one of the many provincial portraitists of the 18th century with influences by Kneller, Jervas, Richardson and other top artists; this mixture became a no nonsense, direct style of portraiture typical of the English School.
SIZE: 22 x 19 inches.
PROVENANCE:Collection of the Crawley-Boevey baronets who had Flaxley Abbey, Gloucestershire (see Image 8) as their seat since 1642.
Sold by direction of Sir Lance V.H. Crawley-Boevey (1900-1968) by Bruton, Knowles and Co. at the Six Day Sale of the Contents of Flaxley Abbey. Bought by F. Baden Watkins the new owner of Flaxley.
Lined and restored for Flaxley Abbey Estate Ltd by Frost & Reed Ltd. c. 1965.
Between 1962 and 1963 Flaxley Abbey's interior was restored by Tony Award winning theatre and set designer Oliver Messel.
Philip Baden-Watkins sold much of the Flaxley collection, including this portrait, in March 2015.
£2,850
Portrait of Christian de Beauvoir de Lisle ...
Item Ref
8618
Oil on canvas in original giltwood frame.
This portrait is in exceptional original condition...it is unlined, never been cleaned (it has been under glass until now) and is bright and fresh.
Signed and dated lower right.
This beautiful portrait is painted with great sensitivity to the boy's face then considerable brio to the rest of the painting; in fact, with such dash and verve that some hairs were displaced from the artist's brushes and they remain as he left them.
The sitter, aged 5, wearing the 'Little Lord Fauntleroy' suit fashionable for aristocratic children at the time, looks confidentally out at the viewer.
The time is 1916.... the middle of the Great War, and the boy's father was General Sir Henry de Beauvoir de Lisle (1864-1955), married to Leila Annette Brynt de Lisle (1877-1938). The general was a much decorated officer who had fought gallantly in Egypt and the Sudan. At this time he was General Officer Commanding 29 Division on the Western Front,
Christian de Beauvoir de Lisle (1911-1994) was a member of an old and distinguished Channel Islands family and, like his father he joined the army and saw action in another war, World War II.
At Cambridge University Christian was a member of the Oficer's Training Corps.
On 2nd September 1933 he was gazetted as a 2nd lieutenant to the 11th Hussars from the Cambridge University Contingent, Senior Division; his seniority was to date from 28th January 1932.
The 11th Hussars were, and are, a very superior cavalry regiment with a long and distinguished battle record. Christian played for the regiment's polo team and in 1933 was given a siver cigarette box inscribed by all the other rmembers of the team.
In WW II the Hussars were an armoured unit.
Christian was promoted to captain on the 11th January 1940 and went on to become a lieutanant-colonel. He was awarded medals as follows: WW II GSM with Palestine bar, 1949/45 Star, the Africa star, the DM and WM.
He died in 1994 and is buried in St. Giles Churchyard, Stoke Poges, Buckinghamshire.
LEON SPRINCK was a fashionable artist of Russian stock, he painted many aristocrats and members of the gentry. In the late 19th and early 20th centuries he exhibited at the Royal Academy, London, the Royal Hibernian Academy and the Walker Art Gallery, Liverpool. He lived at Portland Place in London.
SIZE: 31 x 27.25 inches inc. frame.
PROVENANCE: by descent in the family.
Verso: the original frame maker's label for J.J. Patrickson of Chelsea, a specialist in making frames "in the Old Style".
This portrait is in exceptional original condition...it is unlined, never been cleaned (it has been under glass until now) and is bright and fresh.
Signed and dated lower right.
This beautiful portrait is painted with great sensitivity to the boy's face then considerable brio to the rest of the painting; in fact, with such dash and verve that some hairs were displaced from the artist's brushes and they remain as he left them.
The sitter, aged 5, wearing the 'Little Lord Fauntleroy' suit fashionable for aristocratic children at the time, looks confidentally out at the viewer.
The time is 1916.... the middle of the Great War, and the boy's father was General Sir Henry de Beauvoir de Lisle (1864-1955), married to Leila Annette Brynt de Lisle (1877-1938). The general was a much decorated officer who had fought gallantly in Egypt and the Sudan. At this time he was General Officer Commanding 29 Division on the Western Front,
Christian de Beauvoir de Lisle (1911-1994) was a member of an old and distinguished Channel Islands family and, like his father he joined the army and saw action in another war, World War II.
At Cambridge University Christian was a member of the Oficer's Training Corps.
On 2nd September 1933 he was gazetted as a 2nd lieutenant to the 11th Hussars from the Cambridge University Contingent, Senior Division; his seniority was to date from 28th January 1932.
The 11th Hussars were, and are, a very superior cavalry regiment with a long and distinguished battle record. Christian played for the regiment's polo team and in 1933 was given a siver cigarette box inscribed by all the other rmembers of the team.
In WW II the Hussars were an armoured unit.
Christian was promoted to captain on the 11th January 1940 and went on to become a lieutanant-colonel. He was awarded medals as follows: WW II GSM with Palestine bar, 1949/45 Star, the Africa star, the DM and WM.
He died in 1994 and is buried in St. Giles Churchyard, Stoke Poges, Buckinghamshire.
LEON SPRINCK was a fashionable artist of Russian stock, he painted many aristocrats and members of the gentry. In the late 19th and early 20th centuries he exhibited at the Royal Academy, London, the Royal Hibernian Academy and the Walker Art Gallery, Liverpool. He lived at Portland Place in London.
SIZE: 31 x 27.25 inches inc. frame.
PROVENANCE: by descent in the family.
Verso: the original frame maker's label for J.J. Patrickson of Chelsea, a specialist in making frames "in the Old Style".
£1,995
Portrait of Jane, Lady Hoskyns (?) ...
Item Ref
9171
Oil on canvas in a carved and giltwood frame.
This is a charming portrait, an early 19th century copy, in miniature, of a lost original by William Wissing painted c1670s/1680s.
The canvas bears the stamp of Bedford of Bristol, active 1822-1840.
The sitter is unknown, but bears a resemblance to Jane, Lady Hoskyns as depicted in a full length by Wissing. The elements in the design can, of course, be traced back to Van Dyck, but the simplified construction of the draperies and this particular pose from Lely, set the pattern for 15 years or so for Riley, Wissing and, in his earlier years, Kneller.
JANE, LADY HOSKYNS was born Jane Lowe, the daughter of Sir Gabriel Lowe and Anne Hungerford. She married Sir John Hoskyns, 2nd Bt., son of Sir Bennet Hoskyns, 1st Bt. and Anne Bingley, on 29 August 1671. She died circa August 1724. She was buried on 15 August 1724.
WILLIAM WISSING (1656 - 1687) After Lely's death in 1680, Wissing emerged as his most important pupil. Wissing’s royal sitters include Charles II of England, Queen Catharine of Braganza, Prince George of Denmark, Queen Mary II and the Duke of Monmouth.
SIZE: 20 x 17.75 inches including the frame.
PROVENANCE: Private Collection, Carmarthen, Wales.
This is a charming portrait, an early 19th century copy, in miniature, of a lost original by William Wissing painted c1670s/1680s.
The canvas bears the stamp of Bedford of Bristol, active 1822-1840.
The sitter is unknown, but bears a resemblance to Jane, Lady Hoskyns as depicted in a full length by Wissing. The elements in the design can, of course, be traced back to Van Dyck, but the simplified construction of the draperies and this particular pose from Lely, set the pattern for 15 years or so for Riley, Wissing and, in his earlier years, Kneller.
JANE, LADY HOSKYNS was born Jane Lowe, the daughter of Sir Gabriel Lowe and Anne Hungerford. She married Sir John Hoskyns, 2nd Bt., son of Sir Bennet Hoskyns, 1st Bt. and Anne Bingley, on 29 August 1671. She died circa August 1724. She was buried on 15 August 1724.
WILLIAM WISSING (1656 - 1687) After Lely's death in 1680, Wissing emerged as his most important pupil. Wissing’s royal sitters include Charles II of England, Queen Catharine of Braganza, Prince George of Denmark, Queen Mary II and the Duke of Monmouth.
SIZE: 20 x 17.75 inches including the frame.
PROVENANCE: Private Collection, Carmarthen, Wales.
£3,450
Portrait of Madame de Harlay, After Nicolas ...
Item Ref
9124
Oil in canvas in a gilded 19th century frame in 17th century style.
This is a very high quality painting of the 19th century, in the manner of Largilliere.
The attractive sitter is thought to be ANNE RENNE LOUISE du LOUET de COETJUNVAL, later MADAME HARLAY de BEAUMONT.
Her father was Robert du Louet de Coetjunval, Seigneur de Coetjunval; she was married in February 1693 to Achille IV de Harlay de Beaumont (It is probable that this portrait was commissioned to mark the event). She died in July 1717 aged 54.
The first Lords of Beaumont are mentioned as early as the 11th century, the de Harlays taking the title, through marriage, in 1493.
The Seigneury passed to Montmorency-Luxembourg by the marriage of Anne's daughter Marie-Louise to Christian-Louis de Montmorency-Luxembourg.
NICOLAS de LARGILLIERE (baptized Oct. 10, 1656, Paris, France—died March 20, 1746, Paris), French historical and portrait painter who excelled in painting likenesses of the wealthy middle classes. Most artists of his time took as their standard of excellence the adherence to Classical models and an emphasis on drawing, while some broke away in favour of the style of Rubens and an emphasis on colour. Trained in Antwerp and showing great admiration for the Flemish masters, Largillière came to be looked upon as a pioneer by those 18th-century artists who followed the later, more modern course. In 1709, he painted the royal family portrait of The Family of Louis XIV. This portrait shows King Louis XIV, Madame de Ventadour (governess of the children of the Duke of Burgundy), the 3-year old Louis, Duke of Brittany (1707–1712), Louis, Grand Dauphin and Louis, Duke of Burgundy, future Dauphin.
Highly honoured in his lifetime, he was made Chancellor of the Academy in 1743.
SIZE: 38.25 x 32 inches including the frame.
PROVENANCE: Private Collection, Aberdulais, Wales.
This is a very high quality painting of the 19th century, in the manner of Largilliere.
The attractive sitter is thought to be ANNE RENNE LOUISE du LOUET de COETJUNVAL, later MADAME HARLAY de BEAUMONT.
Her father was Robert du Louet de Coetjunval, Seigneur de Coetjunval; she was married in February 1693 to Achille IV de Harlay de Beaumont (It is probable that this portrait was commissioned to mark the event). She died in July 1717 aged 54.
The first Lords of Beaumont are mentioned as early as the 11th century, the de Harlays taking the title, through marriage, in 1493.
The Seigneury passed to Montmorency-Luxembourg by the marriage of Anne's daughter Marie-Louise to Christian-Louis de Montmorency-Luxembourg.
NICOLAS de LARGILLIERE (baptized Oct. 10, 1656, Paris, France—died March 20, 1746, Paris), French historical and portrait painter who excelled in painting likenesses of the wealthy middle classes. Most artists of his time took as their standard of excellence the adherence to Classical models and an emphasis on drawing, while some broke away in favour of the style of Rubens and an emphasis on colour. Trained in Antwerp and showing great admiration for the Flemish masters, Largillière came to be looked upon as a pioneer by those 18th-century artists who followed the later, more modern course. In 1709, he painted the royal family portrait of The Family of Louis XIV. This portrait shows King Louis XIV, Madame de Ventadour (governess of the children of the Duke of Burgundy), the 3-year old Louis, Duke of Brittany (1707–1712), Louis, Grand Dauphin and Louis, Duke of Burgundy, future Dauphin.
Highly honoured in his lifetime, he was made Chancellor of the Academy in 1743.
SIZE: 38.25 x 32 inches including the frame.
PROVENANCE: Private Collection, Aberdulais, Wales.
£3,950
Portrait of a Boy and Dog c.1740: ...
Item Ref
8845
Oil on canvas, in a good quality reproduction 18th century frame.
Probably a member of the squirearchy, the young boy looks confidentally out at the viewer, standing with one hand on his hip, the other on his dog.
Although the animal was probably his pet, in portraiture a dog represents fidelity and trust; also when included in a child's portrait it can signify how children, like animals, need to be trained and disciplined to become responsible adults.
This portrait would have been painted by one of the many provincial portraitists working at the time. Often self taught and untutored, they frequently created entrancing images of their sitters...rarely flattering, they have a powerful naive directness that makes them very appealing to the modern viewer.
SIZE: 30 x 24.5 inches canvas
37 x 32 inches inc. frame..
PROVENANCE: Hampshire Private Collection.
Probably a member of the squirearchy, the young boy looks confidentally out at the viewer, standing with one hand on his hip, the other on his dog.
Although the animal was probably his pet, in portraiture a dog represents fidelity and trust; also when included in a child's portrait it can signify how children, like animals, need to be trained and disciplined to become responsible adults.
This portrait would have been painted by one of the many provincial portraitists working at the time. Often self taught and untutored, they frequently created entrancing images of their sitters...rarely flattering, they have a powerful naive directness that makes them very appealing to the modern viewer.
SIZE: 30 x 24.5 inches canvas
37 x 32 inches inc. frame..
PROVENANCE: Hampshire Private Collection.
£2,550
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