Portrait of Captain Mackinley c.1830, by Sir ...
Item Ref
9165
Oil on canvas in the original very fine frame.
This is an excellent portrait typical of the period; the handsome sitter has a fashionable brooding, Byronic look, with the dark background enhancing the drama and encouraging the viewer to concentrate on the sitter's face.
The sitter is thought to be Thomas George MacKinley (1809-1865); he was the son of John Mackinley and Maria Cates. Born in London, he was an officer in the Royal Navy, becoming a captain in July 1830.
The Mackinleys are related by marriage to the eminent Copeman and Boord families with connections to Wakehurst Place, Sussex.
SIR WILLIAM BEECHEY RA (12 December 1753 – 28 January 1839) was a leading English portraitist during the golden age of British painting. Beechey was admitted to the Royal Academy Schools in 1772, where he is thought to have studied under Johan Zoffany. He first exhibited at the Academy in 1776. His earliest surviving portraits are small-scale full-length and conversation pieces which are reminiscent of Zoffany. In 1782, he moved to Norwich, where he gained several commissions, including a portrait of Sir John Wodehouse and a series of civic portraits for St. Andrew's Hall, Norwich. By 1787, he had returned to London, and in 1789, he exhibited a celebrated portrait of John Douglas, Bishop of Carlisle (now in Lambeth Palace). Beechey’s career during this period is marked by a succession of adept and restrained portraits in the tradition of Sir Joshua Reynolds.
In 1793, he was commissioned to paint a full-length portrait of Queen Charlotte and subsequently named as her official portrait painter. That same year, he was elected as an associate member of the Royal Academy. Following his royal appointment, the number of royal commissions he undertook increased markedly, and in 1797 he exhibited six royal portraits. In 1798, he was elected a full member of the Royal Academy and painted George III and the Prince of Wales Reviewing Troops for that year’s academy’s exhibition. This enormous composition depicts King George III, the Prince of Wales and staff officers on horseback at an imagined cavalry review in Hyde Park. The king was reported to be delighted with the painting and rewarded Beechey with a knighthood.[ Joseph Farington's Diaries give many accounts of Beechey's relations with the royal family during this period, including his temporary fall from favour in 1804, which Farington attributes to the vagaries of George III’s mental condition.
Beechey's portraits of the turn of the century are considered to be his most lively. They are closer to the flamboyant and free techniques employed by his younger rivals, John Hoppner and Sir Thomas Lawrence.
Royal patronage resumed in around 1813, when Beechey was appointed portrait painter to Prince William Frederick, Duke of Gloucester, and culminated with his appointment in 1830 as principal portrait painter to King William IV. In 1836, Beechey retired to Hampstead and on 9-11 June that year, the contents of his studio along with his collection were sold at Christie’s.
Although capable of impetuousness and irascibility, Beechey was known for his generosity to students. In particular, he took a close interest in the career of the young John Constable.
SIZE: 37.25 x 32 x 3.5 inches including the frame.
PROVENANCE: By descent to the estate of the Copeman family.
VERSO: faded old paper label and a copperplate inscription "Painted by Sir William Beechey".
This is an excellent portrait typical of the period; the handsome sitter has a fashionable brooding, Byronic look, with the dark background enhancing the drama and encouraging the viewer to concentrate on the sitter's face.
The sitter is thought to be Thomas George MacKinley (1809-1865); he was the son of John Mackinley and Maria Cates. Born in London, he was an officer in the Royal Navy, becoming a captain in July 1830.
The Mackinleys are related by marriage to the eminent Copeman and Boord families with connections to Wakehurst Place, Sussex.
SIR WILLIAM BEECHEY RA (12 December 1753 – 28 January 1839) was a leading English portraitist during the golden age of British painting. Beechey was admitted to the Royal Academy Schools in 1772, where he is thought to have studied under Johan Zoffany. He first exhibited at the Academy in 1776. His earliest surviving portraits are small-scale full-length and conversation pieces which are reminiscent of Zoffany. In 1782, he moved to Norwich, where he gained several commissions, including a portrait of Sir John Wodehouse and a series of civic portraits for St. Andrew's Hall, Norwich. By 1787, he had returned to London, and in 1789, he exhibited a celebrated portrait of John Douglas, Bishop of Carlisle (now in Lambeth Palace). Beechey’s career during this period is marked by a succession of adept and restrained portraits in the tradition of Sir Joshua Reynolds.
In 1793, he was commissioned to paint a full-length portrait of Queen Charlotte and subsequently named as her official portrait painter. That same year, he was elected as an associate member of the Royal Academy. Following his royal appointment, the number of royal commissions he undertook increased markedly, and in 1797 he exhibited six royal portraits. In 1798, he was elected a full member of the Royal Academy and painted George III and the Prince of Wales Reviewing Troops for that year’s academy’s exhibition. This enormous composition depicts King George III, the Prince of Wales and staff officers on horseback at an imagined cavalry review in Hyde Park. The king was reported to be delighted with the painting and rewarded Beechey with a knighthood.[ Joseph Farington's Diaries give many accounts of Beechey's relations with the royal family during this period, including his temporary fall from favour in 1804, which Farington attributes to the vagaries of George III’s mental condition.
Beechey's portraits of the turn of the century are considered to be his most lively. They are closer to the flamboyant and free techniques employed by his younger rivals, John Hoppner and Sir Thomas Lawrence.
Royal patronage resumed in around 1813, when Beechey was appointed portrait painter to Prince William Frederick, Duke of Gloucester, and culminated with his appointment in 1830 as principal portrait painter to King William IV. In 1836, Beechey retired to Hampstead and on 9-11 June that year, the contents of his studio along with his collection were sold at Christie’s.
Although capable of impetuousness and irascibility, Beechey was known for his generosity to students. In particular, he took a close interest in the career of the young John Constable.
SIZE: 37.25 x 32 x 3.5 inches including the frame.
PROVENANCE: By descent to the estate of the Copeman family.
VERSO: faded old paper label and a copperplate inscription "Painted by Sir William Beechey".
£7,950
Dutch Ships in a Sea Battle c.1690, ...
Item Ref
9169
Oil on canvas in a beautiful painted tortoiseshell frame, bearing a brass nameplate. The canvas has been reduced in size at some time.
Of the Dutch Golden Age, this is a fine marine painting, full of action and extremely accurate in its depiction of the vessels involved. The unknown artist, a Follower of Storck, has captured his style very well. The details are almost of a miniaturist's skill.
ABRAHAM STORCK (or Sturckenburch) (bapt. 17 April 1644 in Amsterdam – buried 8 April 1708), was a Dutch painter, who enjoyed a reputation for his marine paintings, topographical views and Italianate harbour scenes. Storck was an outstanding draughtsman too.
His father was the painter Jan Jansz Sturck (or Johannes Storck) (1603-1673), from Wesel; his mother was Teuntje (Apolonia) Jacobs. The couple married in 1628. Storck had two brothers, who were also painters using the name Sturckenburch until c. 1688 after which they started calling themselves Storck or Sturck. It is likely they were all trained with their father in the family workshop and joined the local Guild of Saint Luke, otherwise it was impossible to sell any painting.
Around 1666 Storck set up his own workshop producing naval, harbuor scenes as well as landscape paintings and cityscapes. In 1670 he travelled with his brother Jacob and worked in Germany. In 1694, being 49 years old, he married the widow Neeltje Pieters van Meyservelt. At the end of his life he lived on Kattenburg near the harbour.
Storck's marine and river scenes were influenced by the two Willem van de Veldes (the elder and the younger), Ludolf Bakhuizen and by Jan Abrahamsz Beerstraaten.
He depicted ships' rigging and technical details with considerable accuracy, which likely shows the influence of the van de Veldes.
SIZE: 28 x 31.5 x 2.5 inches including the frame.
PROVENANCE: Sotheby's, London, April 29, 2010. Sold for £9,000.
Deceased estate in Buckinghamshire.
Of the Dutch Golden Age, this is a fine marine painting, full of action and extremely accurate in its depiction of the vessels involved. The unknown artist, a Follower of Storck, has captured his style very well. The details are almost of a miniaturist's skill.
ABRAHAM STORCK (or Sturckenburch) (bapt. 17 April 1644 in Amsterdam – buried 8 April 1708), was a Dutch painter, who enjoyed a reputation for his marine paintings, topographical views and Italianate harbour scenes. Storck was an outstanding draughtsman too.
His father was the painter Jan Jansz Sturck (or Johannes Storck) (1603-1673), from Wesel; his mother was Teuntje (Apolonia) Jacobs. The couple married in 1628. Storck had two brothers, who were also painters using the name Sturckenburch until c. 1688 after which they started calling themselves Storck or Sturck. It is likely they were all trained with their father in the family workshop and joined the local Guild of Saint Luke, otherwise it was impossible to sell any painting.
Around 1666 Storck set up his own workshop producing naval, harbuor scenes as well as landscape paintings and cityscapes. In 1670 he travelled with his brother Jacob and worked in Germany. In 1694, being 49 years old, he married the widow Neeltje Pieters van Meyservelt. At the end of his life he lived on Kattenburg near the harbour.
Storck's marine and river scenes were influenced by the two Willem van de Veldes (the elder and the younger), Ludolf Bakhuizen and by Jan Abrahamsz Beerstraaten.
He depicted ships' rigging and technical details with considerable accuracy, which likely shows the influence of the van de Veldes.
SIZE: 28 x 31.5 x 2.5 inches including the frame.
PROVENANCE: Sotheby's, London, April 29, 2010. Sold for £9,000.
Deceased estate in Buckinghamshire.
£8,850
An English Ship and Other Vessels in ...
Item Ref
9161
Oil on canvas in a fine carved and giltwood 18th century frame.
A superb and accurate rendition, contemporary or nearly contemporary, of the original by Willem van de Velde the Younger, which is now in the National Maritime Museum at Greenwich. It is described as being painted in the "mid 17th century to early 18th century", and continues "An English ship shown in a gale, together with other shipping. To the left is a small ship with men in the rigging shown furling the sail. In the right foreground a Dutch fishing craft known as a hoeker is bringing down her sail. In the left middle-distance is a ship with a number of figures on deck and several more in the rigging. In the right background is a ship at anchor. She has a pendant at the main and a flag at the fore. There are several other ships at anchor in the distance all riding out the storm. Although there is some blue sky immediately above the ship, the rest of the sky is filled with dark and heavy storm clouds."
WILLEM VAN DE VELDE the Younger (1683-1707) was a Dutch marine painter. son of Willem van de Velde the Elder, also a painter of sea-pieces, Willem van de Velde, the younger, was instructed by his father, and afterwards by Simon de Vlieger, a marine painter of repute at the time, and had achieved great celebrity by his art before he came to London. By 1673 he had moved to England, where he was engaged by Charles II, at a salary of £100, to aid his father in "taking and making draughts of sea-fights", his part of the work being to reproduce in colour the drawings of the elder Van de Velde. He was also patronized by the Duke of York and by various members of the nobility.
He died on 6 April 1707 in London, England, and was buried at St James's Church, Piccadilly. A memorial to him and his father lies within the church. Most of Van de Velde's finest works represent views off the coast of Holland, with Dutch shipping. His best productions are delicate, spirited and finished in handling, and correct in the drawing of the vessels and their rigging. The numerous figures are tellingly introduced, and the artist is successful in his renderings of sea, whether in calm or storm. The ships are portrayed with almost photographic accuracy, and are the most precise guides available to the appearance of 17th-century ships.
There are a number of van de Velde's marine paintings in the Wallace Collection, London, including "The Embarkation of King Charles II at Scheveningen, 1660".
SIZE: 32 x 41.25 x 2.5 inches including the frame.
PROVENANCE: Collection of a Lady, Dulwich.
A superb and accurate rendition, contemporary or nearly contemporary, of the original by Willem van de Velde the Younger, which is now in the National Maritime Museum at Greenwich. It is described as being painted in the "mid 17th century to early 18th century", and continues "An English ship shown in a gale, together with other shipping. To the left is a small ship with men in the rigging shown furling the sail. In the right foreground a Dutch fishing craft known as a hoeker is bringing down her sail. In the left middle-distance is a ship with a number of figures on deck and several more in the rigging. In the right background is a ship at anchor. She has a pendant at the main and a flag at the fore. There are several other ships at anchor in the distance all riding out the storm. Although there is some blue sky immediately above the ship, the rest of the sky is filled with dark and heavy storm clouds."
WILLEM VAN DE VELDE the Younger (1683-1707) was a Dutch marine painter. son of Willem van de Velde the Elder, also a painter of sea-pieces, Willem van de Velde, the younger, was instructed by his father, and afterwards by Simon de Vlieger, a marine painter of repute at the time, and had achieved great celebrity by his art before he came to London. By 1673 he had moved to England, where he was engaged by Charles II, at a salary of £100, to aid his father in "taking and making draughts of sea-fights", his part of the work being to reproduce in colour the drawings of the elder Van de Velde. He was also patronized by the Duke of York and by various members of the nobility.
He died on 6 April 1707 in London, England, and was buried at St James's Church, Piccadilly. A memorial to him and his father lies within the church. Most of Van de Velde's finest works represent views off the coast of Holland, with Dutch shipping. His best productions are delicate, spirited and finished in handling, and correct in the drawing of the vessels and their rigging. The numerous figures are tellingly introduced, and the artist is successful in his renderings of sea, whether in calm or storm. The ships are portrayed with almost photographic accuracy, and are the most precise guides available to the appearance of 17th-century ships.
There are a number of van de Velde's marine paintings in the Wallace Collection, London, including "The Embarkation of King Charles II at Scheveningen, 1660".
SIZE: 32 x 41.25 x 2.5 inches including the frame.
PROVENANCE: Collection of a Lady, Dulwich.
£6,950
Portrait of a Young Lady c.1835, Circle ...
Item Ref
9167
Oil on canvas in a period giltwood frame.
A charming portrait of an attractive young woman painted during the reign of King William IV.
The sitter wears a bright red rose in her hair, in the Language of Flowers this signifies romantic love. She holds to her breast a white rose; white roses mean purity and innocence. They can be used to show that you feel that your love is pure and that you believe the recipient to be pure. White roses also mean you are loyal.
It seems likely that this portrait was commissioned to commemorate a proposed marriage, at this time engagement rings were not always worn.
SIR MARTIN ARCHER SHEE (b Dublin, 20 Dec. 1769; d Brighton, 19 Aug. 1850). Irish portrait painter and writer on art, active from 1788 in London. There he became second only to Sir Tomas Lawrence as the leading society portraitist, painting members of the Royal Family and other aristocrats. His work was very much influenced by Lawrence, and he had a very active Studio and Circle. In 1830 he succeeded him as President of the Royal Academy, which he guided through a difficult period when it was under attack from Haydon and other disaffected artists. Examples of his work—which in style lies between the brilliance of Lawrence and the precision of West—are in the National Portrait Gallery, London.
SIZE: 34.5 x 29.25 x 3 inches including the frame.
PROVENANCE: A long standing private collection in Devon.
A charming portrait of an attractive young woman painted during the reign of King William IV.
The sitter wears a bright red rose in her hair, in the Language of Flowers this signifies romantic love. She holds to her breast a white rose; white roses mean purity and innocence. They can be used to show that you feel that your love is pure and that you believe the recipient to be pure. White roses also mean you are loyal.
It seems likely that this portrait was commissioned to commemorate a proposed marriage, at this time engagement rings were not always worn.
SIR MARTIN ARCHER SHEE (b Dublin, 20 Dec. 1769; d Brighton, 19 Aug. 1850). Irish portrait painter and writer on art, active from 1788 in London. There he became second only to Sir Tomas Lawrence as the leading society portraitist, painting members of the Royal Family and other aristocrats. His work was very much influenced by Lawrence, and he had a very active Studio and Circle. In 1830 he succeeded him as President of the Royal Academy, which he guided through a difficult period when it was under attack from Haydon and other disaffected artists. Examples of his work—which in style lies between the brilliance of Lawrence and the precision of West—are in the National Portrait Gallery, London.
SIZE: 34.5 x 29.25 x 3 inches including the frame.
PROVENANCE: A long standing private collection in Devon.
£1,995
Portrait Bust of Sappho c.1900 by HL ...
Item Ref
lyric
A superb and rare terracotta Art Nouveau portrait bust of Sappho, the famous Ancient Greek poetess, sculpted by HL Blasche. There are plaster versions of this sculpture, but the terracotta ones are most uncommon.
Sappho was greatly loved for her personification of love and affection, and her creativity. Her poetry was so rhythmical, usually accompanied by music and dance, that it gained the reputation for being the Divine Inspiration of the Muses.
She was born on the Aegean island of Lesbos
about 615 BC. To the Greeks Homer was the Poet and Sappho was the Poetess. Plato called her The Tenth Muse.
Those who know the language of ancient Greece have long ago convinced us that much of the beauty of Greek lyric verse is lost in English translation.
The Greeks' appreciation of the poetry of Sappho gave her the recognition as one of the greatest of women poets and the greatest of all lyric poets.
She was married and the mother of a child but her poetry reveals her sexual attraction to women. Our English word for sexual love between women is derived from Lesbos the name of the island where Sappho lived. Her imagery and the intensity of her poetry transcends sexual reference; it is poetry lifted to an ethereal plain. It is said that Sappho's use of every word has a perfection and inimitable grace.
This bust, 24 inches tall, beautifully sculpted and painted, was made by Reps & Trinte of Magdeburg, Saxony in c. 1900. It bears their pre 1910 mark; 'R & T Mgdbg Gesetzl Geschibz'.
The company was founded by Carl Reps in 1889 and made artworks in terracotta, marble and bronze. They exhibited at the St. Louis World's Fair in 1904.
SIZE: 24 inches tall.
PROVENANCE: In a Yorkshire Private collection since 1973.
Sappho was greatly loved for her personification of love and affection, and her creativity. Her poetry was so rhythmical, usually accompanied by music and dance, that it gained the reputation for being the Divine Inspiration of the Muses.
She was born on the Aegean island of Lesbos
about 615 BC. To the Greeks Homer was the Poet and Sappho was the Poetess. Plato called her The Tenth Muse.
Those who know the language of ancient Greece have long ago convinced us that much of the beauty of Greek lyric verse is lost in English translation.
The Greeks' appreciation of the poetry of Sappho gave her the recognition as one of the greatest of women poets and the greatest of all lyric poets.
She was married and the mother of a child but her poetry reveals her sexual attraction to women. Our English word for sexual love between women is derived from Lesbos the name of the island where Sappho lived. Her imagery and the intensity of her poetry transcends sexual reference; it is poetry lifted to an ethereal plain. It is said that Sappho's use of every word has a perfection and inimitable grace.
This bust, 24 inches tall, beautifully sculpted and painted, was made by Reps & Trinte of Magdeburg, Saxony in c. 1900. It bears their pre 1910 mark; 'R & T Mgdbg Gesetzl Geschibz'.
The company was founded by Carl Reps in 1889 and made artworks in terracotta, marble and bronze. They exhibited at the St. Louis World's Fair in 1904.
SIZE: 24 inches tall.
PROVENANCE: In a Yorkshire Private collection since 1973.
£4,500
Portrait of a Gentleman c.1735; Attributed to ...
Item Ref
8727
Oil on canvas in a period carved and giltwood frame.
The young man looks directly at the viewer, his wig fashionably tied in a club.
This is the age of the 'Augustan' portrait (1690-1744) when the sitter expected to be 'elevated'...an expression of gravitas behind which was culture and intelligence. This was the English way...not for them the smiling, sometimes simpering, expressions painted by the French.
Joseph Addison, famous essayist, poet, playwright and politician and a man of letters, sneeringly described French portraits as "very remarkable for their smiles and a certain smirking Air...bestowed indifferently on every Age and Degree of either sex. The Toujours Gai appeared even in Judges, Bishops and Privy Counsellors.."
WILLIAM VERELST (active 1734-c.1756) was born in England, of Netherlandish stock. His father was Harman Verelst, a portrait painter who came to England in 1683, part of the famous family of artists....Pieter(1), Harman, Pieter(2), John, Maria, Simon and William.
William was a painter of portraits and conversation pieces; he was said to be the best portraitist of the Verelst family.
SIZE:36.5 x 31 inches.
PROVENANCE: Collection of a Lady, Northumberland.
The young man looks directly at the viewer, his wig fashionably tied in a club.
This is the age of the 'Augustan' portrait (1690-1744) when the sitter expected to be 'elevated'...an expression of gravitas behind which was culture and intelligence. This was the English way...not for them the smiling, sometimes simpering, expressions painted by the French.
Joseph Addison, famous essayist, poet, playwright and politician and a man of letters, sneeringly described French portraits as "very remarkable for their smiles and a certain smirking Air...bestowed indifferently on every Age and Degree of either sex. The Toujours Gai appeared even in Judges, Bishops and Privy Counsellors.."
WILLIAM VERELST (active 1734-c.1756) was born in England, of Netherlandish stock. His father was Harman Verelst, a portrait painter who came to England in 1683, part of the famous family of artists....Pieter(1), Harman, Pieter(2), John, Maria, Simon and William.
William was a painter of portraits and conversation pieces; he was said to be the best portraitist of the Verelst family.
SIZE:36.5 x 31 inches.
PROVENANCE: Collection of a Lady, Northumberland.
£4,950
Two pages from a 17th century Book ...
Item Ref
Mounted and framed, these two pages, from a 1662 Book of Common Prayer, gothic blackletter and illustrated chapter letters, are a very decorative item.
They were discovered behind an 18th century painting.
SIZE: 14 x 15.5 inches framed.
They were discovered behind an 18th century painting.
SIZE: 14 x 15.5 inches framed.
£105
Ancient Chinese Han Dynasty Hu.
Item Ref
Hu
A rare and fine Han Dynasty (206BC-220AD) Greyware pottery Hu. Inspired by the late Chu bronzes, sweeping and massive, with a globular body. The very simple decoration is characteristic, fillets in relief and two jutting masks called Taotie. This is a motif found on earlier bronze vessels of the Shang and Zhou Dynasties, and possibly further back to Neolithic times. It consists of a frontal zoomorphic mask, with raised eyes and no lower jaw; its purpose was to keep evil spirits away. A Hu was used for storing food, indeed, they have been found in tombs still containing food to sustain the deceased in the Afterlife.
It is encrusted with earth from the tomb where it stood for over 2000 years.
SIZE: 18 inches tall. (46 cm) This is an unusually large vessel; a more common size is about 14 inches.
CONDITION: Excellent, apart from a hair crack running up from near the base to the shoulder of the jar. Probably caused when it was removed from the tomb.
PROVENANCE: Discovered in Beijing and brought into this country in 1995, when China opened to the outside world, by the specialist antiquities dealer 'Ancient World' of York,
Then in a Yorkshire collection for the next 24 years.
It is encrusted with earth from the tomb where it stood for over 2000 years.
SIZE: 18 inches tall. (46 cm) This is an unusually large vessel; a more common size is about 14 inches.
CONDITION: Excellent, apart from a hair crack running up from near the base to the shoulder of the jar. Probably caused when it was removed from the tomb.
PROVENANCE: Discovered in Beijing and brought into this country in 1995, when China opened to the outside world, by the specialist antiquities dealer 'Ancient World' of York,
Then in a Yorkshire collection for the next 24 years.
£1,850
Portrait of a Lady c.1700; Circle of ...
Item Ref
9038
Oil on canvas in a rare original silver gilt frame. For a time silver gilding was very fashionable but when it went out of favour many frames were re-gilded.
This one survived.
These images give the viewer this is the conventional canvas size of 30 x 25 inches, but in fact it is 13.5 x 11.5 inches.
This was created as an intimate item, for a close friend or lover, who would have kept it in the private room known as a 'cabinet' where few would have been invited.
SIR GODFREY KNELLER (1646-1723) studied under Ferdinand Bol, and perhaps Rembrandt himself in the 1660s. He was in Rome and Venice between 1672 and 1675, settling in England in 1676 for life. He was soon employed at Court and became the most successful portraitist of the generation following Lely. He enjoyed the office of Principal Painter to the King, at first jointly with John Riley (d.1691), from shortly after the accession of William and Mary in 1688 until his death. He was knighted in 1692 and became a baronet in 1715.
His work fully expresses the spirit of the English Baroque, and his influence on other artists was great.
SIZE: 18.75 x 16.5 inches including frame.
PROVENANCE: Sussex private collection.
This one survived.
These images give the viewer this is the conventional canvas size of 30 x 25 inches, but in fact it is 13.5 x 11.5 inches.
This was created as an intimate item, for a close friend or lover, who would have kept it in the private room known as a 'cabinet' where few would have been invited.
SIR GODFREY KNELLER (1646-1723) studied under Ferdinand Bol, and perhaps Rembrandt himself in the 1660s. He was in Rome and Venice between 1672 and 1675, settling in England in 1676 for life. He was soon employed at Court and became the most successful portraitist of the generation following Lely. He enjoyed the office of Principal Painter to the King, at first jointly with John Riley (d.1691), from shortly after the accession of William and Mary in 1688 until his death. He was knighted in 1692 and became a baronet in 1715.
His work fully expresses the spirit of the English Baroque, and his influence on other artists was great.
SIZE: 18.75 x 16.5 inches including frame.
PROVENANCE: Sussex private collection.
£3,250
OAK WAINSCOT CHAIR C.1680 AND LATER.
Item Ref
8938
Joined armchair, South-West Yorkshire, 1650 - 1700. The chair stands on typical 'gun barrel' legs.
"The most distinctive 'signature' of the Dales armchair is the broad curly profile of the double-scrolled pediment crest, in which the scrolled earpieces are an integral part of the design." ('Oak Furniture: The British Tradition' by Victor Chinnery).
This chair is of good quality, with typical West Riding carving and good colour, but constant use over the centuries has inevitably left its marks.
As these once high status chairs became unfashionable in the 18th century they moved down from gentry houses to farmers and small merchants then into cottages, often being badly treated.
This example has been restored and reconstructed and is firm, solid and ready to use for another 300 years.
DIMENSIONS:45 inches tall, 22.5 inches wide, 23 inches deep.
PROVENANCE:London Private Collection.
"The most distinctive 'signature' of the Dales armchair is the broad curly profile of the double-scrolled pediment crest, in which the scrolled earpieces are an integral part of the design." ('Oak Furniture: The British Tradition' by Victor Chinnery).
This chair is of good quality, with typical West Riding carving and good colour, but constant use over the centuries has inevitably left its marks.
As these once high status chairs became unfashionable in the 18th century they moved down from gentry houses to farmers and small merchants then into cottages, often being badly treated.
This example has been restored and reconstructed and is firm, solid and ready to use for another 300 years.
DIMENSIONS:45 inches tall, 22.5 inches wide, 23 inches deep.
PROVENANCE:London Private Collection.
£1,385
Portrait of a Young Boy 1711, by ...
Item Ref
8736
Oil on canvas in period carved and giltwood frame.
Signed and dated lower left 'Jon. Verelst. P:1711'.
This charming portrait depicts a young boy wearing the fashionable, and expensive, 'banyan' or loose robe favoured for relaxation at that time.
JOHN VERELST (active 1698-1734) was born in England, of Netherlandish stock. His father was Harman Verelst, a portrait painter who came to England in 1683, part of the famous family of artists....Pieter(1), Harman, Pieter(2), John, Maria, Simon and Willem.
John married Ann Tureng at St. James's in 1692. His signed and dated portraits range from 1699-1734. He always signed with a curly 'V'.
SIZE:37 x 31.5 inches inc. frame.
PROVENANCE:
*Collection of Lady Rook of Sussex and London.
(Lady Rook, 1915-2003, was the widow of Sir William James Rook;she was the former Beryl Mary Rosalie Stait-Gardner of Kensington, London).
*With Roy Precious Fine Art.
*Private Collection, Lancashire
VERSO:late 19th c. trade label "J.A. Cooling & Sons, Dealers in Works of Art. 92, New Bond street, London".
Signed and dated lower left 'Jon. Verelst. P:1711'.
This charming portrait depicts a young boy wearing the fashionable, and expensive, 'banyan' or loose robe favoured for relaxation at that time.
JOHN VERELST (active 1698-1734) was born in England, of Netherlandish stock. His father was Harman Verelst, a portrait painter who came to England in 1683, part of the famous family of artists....Pieter(1), Harman, Pieter(2), John, Maria, Simon and Willem.
John married Ann Tureng at St. James's in 1692. His signed and dated portraits range from 1699-1734. He always signed with a curly 'V'.
SIZE:37 x 31.5 inches inc. frame.
PROVENANCE:
*Collection of Lady Rook of Sussex and London.
(Lady Rook, 1915-2003, was the widow of Sir William James Rook;she was the former Beryl Mary Rosalie Stait-Gardner of Kensington, London).
*With Roy Precious Fine Art.
*Private Collection, Lancashire
VERSO:late 19th c. trade label "J.A. Cooling & Sons, Dealers in Works of Art. 92, New Bond street, London".
£3,985
Portrait of a Lady c.1685: Circle of ...
Item Ref
8930
Oil on canvas in a very fine Italian carved and giltwood frame.
This excellent painting is a good example of the art of the Baroque period, with great care give to the depiction of the sitter's expensive silks and lace.
Adriaen Hanneman (c. 1603 - buried 11 July 1671) was a Dutch Golden Age painter best-known today for his portraits of the exiled British royal court. His style was strongly influenced by his contemporary, Anthony van Dyck.
He was born into a wealthy Catholic patrician family in the Hague, and studied drawing with Hague portrait artist Jan Antonisz. van Ravesteyn
SIZE:43 x 37 inches inc. frame.
PROVENANCE: From a Belgian chateau and by descent.
This excellent painting is a good example of the art of the Baroque period, with great care give to the depiction of the sitter's expensive silks and lace.
Adriaen Hanneman (c. 1603 - buried 11 July 1671) was a Dutch Golden Age painter best-known today for his portraits of the exiled British royal court. His style was strongly influenced by his contemporary, Anthony van Dyck.
He was born into a wealthy Catholic patrician family in the Hague, and studied drawing with Hague portrait artist Jan Antonisz. van Ravesteyn
SIZE:43 x 37 inches inc. frame.
PROVENANCE: From a Belgian chateau and by descent.
£8,650
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