Portrait of Elizabeth Ogle, Circle of Michael ...

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Oil on canvas in a fine carved and giltwood period frame c.1695.
ELIZABETH OGLE, (later Elizabeth Case), baptised 1674, was a member of a notable Lancashire gentry family of ancient origin. This portrait was very probably painted on the occasion of her marriage to Jonathon Case.
A parrot demonstrated the wealth of the sitter able to own such an exotic creature from non-European lands, and it wasn’t just the live birds that were valued, the plucked feathers of parrots were valued too.
Also...curiously...the parrot symbolised virginity. This was probably because of its association with the Virgin Mary in earlier art.

OGLE OF WHISTON. Arms: Argent, a fesse between three crescents gules.

The Ogles appear in Lancashire in the middle of the fifteenth century as stewards of the manor of Prescot. John Ogle, the earliest known, is said to have been a son of Sir Robert, first Lord Ogle, who died in 1469. Early in 1472 John Ogle of Prescot purchased lands in Rainhill from John, son and heir of Hugh Woodfall. Margaret, widow of John Ogle, and Roger their son purchased lands from John Travers, and the family continued to prosper, becoming possessors of the manors of Whiston and Halsnead, the purchaser being John Ogle.

John's son and heir Henry, born about 1586, married in 1610 Elizabeth, daughter of Robert Whitby of Chester, and had by her a numerous offspring. He died about 1649, but does not seem to have taken any part in the Civil War. Two of his sons, however, took arms on the king's side. Cuthbert, the eldest, received a commission from the Earl of Derby, but soon retired, and in 1646 took the National Covenant in London and compounded for his estates by a fine of £120. Henry his brother, holding a similar commission, took part in the defence of Lathom House.

Cuthbert died in 1670, the heir being his son Edward, whose daughter and eventual heir Elizabeth carried the manor to her husband Jonathan Case, of the Red Hazels in Huyton. About the beginning of last century the manor was held by Richard Willis of Halsnead, to whose heirs it has descended; but the hall was then in the possession of John Ashton Case, a Liverpool merchant, great-grandson of the above-named Jonathan.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London. He soon became the best patronised portrait painter in England after Kneller. He was much employed at the Court painting many portraits; a great patron of the 1690s was the Duke of Somerset, for whom he painted the series of portraits of Court ladies known as the 'Petworth Beauties'.

SIZE: 44 x 36 inches including the frame.
PROVENANCE: By descent through the family of the sitter. VERSO: old handwritten labels by Mary Radcliffe (bearing incorrect dates) and Thomas Edward Case.

Portrait of a Boy c.1730; Attributed to ...

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Oil on canvas in an 18th century carved and giltwood frame.

An early 18th century portrait of a young gentleman, expensively and fashionably dressed...a plain blue velvet coat and a finely embroidered waistcoat was a combination much favoured by the English gentry and prosperous merchant class.
The sitter stands within a landscape and toys with the button on his tricorne hat tucked under his arm.

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.

SIZE: 38 x 32 inches inc. frame.
PROVENANCE: Wiltshire; a long term private collection.

Bristol delft bianco supra bianco plate c.1760-70 ...

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A rare large , multicoloured, Bristol delft plate, with scalloped edge, the centre delicately painted with a lakeside scene and two figures conversing. This is the highly fashionable Chinoiserie taste which swept the country at this time. Bianco supra bianco was probably introduced into England by Magnus Lundburg, an artisan from the Rorstrand factory in Sweden, in the 1750s, who was likely employed at the Redcliff Back Pottery in Bristol.
As is usual with delftware there are some nibbles to the edge.
SIZE: 12 inches diameter.
PROVENANCE: The Collection of Sir William Whitfield CBE, St Helen Hall, County Durham. (Image 4)

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 an Officer c.1710; Attributed to ...

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Oil on canvas in the original high quality carved and giltwood frame.

A fine portrait of a military officer, almost certainly by Kneller. There is considerable quality here as can be seen, in the face, the hands (often problematic to many artists) and in the totally believable way the officer's clothing is painted.
Although this portrait has descended through one family for at least 160 years the identity of the sitter had been lost. In fact it had come to be believed that the sitter had been an officer in the Peninsular war of 1818-1814 and had served under Wellington! The clothes, the wig...in fact the whole portrait...clearly show a date 100 years earlier than that.
Unknown the sitter may be (although the family say his surname was Witherden) but this is an excellent portrait of the early 18th century.
It is a fine example of the Augustan style portrait for which Kneller is now best remembered. It dates from his later middle period (c.1710), when he produced his most distinguished paintings including the celebrated Kit-Kat series.

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, 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 includes penetrating studies of many of the leading figures of Whig Society such as the famous Kit-Kat portraits now in the National Portrait Gallery (Beningborough Hall, Yorkshire), which include the likenesses of Sir John Vanbrugh, Charles 3rd Earl of Carlisle, and others.

SIZE: 58 x 48 inches inc. frame.
PROVENANCE:With a Surrey family for at least a century and a half.


Portrait of a Lady c.1685: Circle of ...

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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.


Portrait of a Lady c.1695; Circle of ...

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Oil on canvas in a period carved and gitwood frame.

Our portrait captures superbly the ostensibly modest yet seductive character of the sitter..
It is a good example of the way that Dahl and his Circle eloquently depicted 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 impact a subtle sense of movement. She wears the headcloth often seen in Dahl's portraits at this period; her gown is fashionably revealing, the supposedly modest drape of diaphanous material over her decolletage conceals little.

MICHAEL DAHL (1659-1743) 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, and 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: 37.5 x 32.25 inches inc. frame.
PROVENANCE: Old private collection in south Herefordshire. Deceased estate.


Portrait of a Lady of the Haworth ...

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Oil on canvas in a good quality period gilt frame.

A charming and insightful portrait of a lady of the Haworth family of Hull, Yorkshire. The Haworths were an old and influential Yorkshire family of Haworth Hall, Dunswell, Hull, Yorkshire. They were timber merchants and extensive landowners, some of them Baronets.

The sitter wears a gold mounted tiger's claw around her neck, an exotic and rare item; it seems probable that it was a gift from someone who had been to India, perhaps a military man. It is possible that this lady is Cordelia Wintour, daughter of Reverend Fitzgerald Wintour and Jane Elizabeth Dayrell, who married Benjamin Haworth in 1853. Haworth held the rank of Lieutenant-Colonel Commandant in the service of the 1st Brigade, Yorkshire Artillery Volunteers. On 6 July 1869 his name was legally changed to Benjamin Blaydes Haworth-Booth by Royal Licence. (The Blaydes and the Booths were rich and powerful merchant families who had married into the Haworths.) He held the office of Justice of the Peace and Deputy Lieutenant; he was also admitted to the Inner Temple and was entitled to practice as a barrister-at-law.

SIZE: 36 x 30 inches inc. frame.
PROVENANCE: Haworth Hall, then by descent in the family to a branch which settled in Oxfordshire. Deceased estate.

Portrait of Francis Gregor 1713, by William ...

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Oil on canvas in a gilltwood frame.

The Gregors were an important Cornish family who came to prominence during the 16th and 17th centuries as merchants and landowners.

FRANCIS GREGOR, (1686-1762), aged 27 in the portrait, was born in Trewarthenick in the parish of Cornelly, Cornwall.
He married, firstly, Maria Ratcliffe who died in 1720, and secondly in 1724, Dorothy Harn, died 1792.
Francis became Deputy Lieutenant of the Duchy of Cornwall: his son, Francis, served in the 53rd Regiment at Quebec under General Wolfe and became his secretary. In this portrait he holds a vellum scroll dated 1215, the date of the Magna Carta.

This painting, until the late 1960s, hung in the Great Hall of Trewarthenick House, Cornwall, at that time the property was sold out of the family.
In 1969 the portrait was relined by the then owner and the signature of the artist on the verso of the canvas was obscured, It was, however traced and this tracing comes with the portrait, as does much correspondence with Cornwall County Council concerning the portrait and family, a handwritten family tree, a copy of the Journal of the Royal Institution of Cornwall concerning the family and showing this portrait, and a framed engraving of Trewarthenick House, dated 1832. (See images).

WILLIAM GANDY (c1655-1729) Registered as the son of artist William Gandy, although in later life he claimed he was the illegitimate son his father's patron , the Duke of Ormonde.
His known work dates after 1700 and is of a high standard; his paintings were admired by Sir Godfrey Kneller, Painter to the King, and he is said to have influenced Reynolds, especially in the texture of the paint. Reynolds and Northcote are both reportred to have borrowed his paintings to make studies. His compositions can be original, and he often represents his sitter, as here, 'tightly' within the framework of the canvas. He is buried in St. Paul's Church, Exeter.

SIZE: 35.5 x 30.5 inches including frame.
PROVENANCE: by direct family descent until the late 1960s. Latterly in an Oxfordshire private collection, having been bought from the trade many years ago.

Portrait of Marjorie McInnes 1921 by Cowan ...

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Oil on canvas board in a glazed modern gilt frame.
Signed and dated.
A charming portrait of Marjorie McInnies,a pretty young girl, painted in 1921, when she was four, by David Cowan Dobson.

MARJORIE MARY MCINNES OBE, (1917-2015) Marjorie was the daughter of Robert and Nettie McInnes. She had an older sister, Eileen, and a younger brother, Roy. They were born into a wealthy timber merchant family which fell upon hard times in the late 1920s. Her father died when she was ten. While she began her education at Craigholme School she completed it through a bursary at Hutcheson Girls Grammar School in 1934.

Initially she found work in a publishing house, and on leaving that got a job as a bank clerk. Her teenage years were beset by illnesses which she finally overcame.
Marjorie obtained the Diploma in Social Services from Glasgow University in 1939, there being no degree course at that time, and proceeded to train as an almoner (later called medical social worker) at the Institute of Almoners in London. She qualified in 1940. Her first posts were in 1941-42 working as an almoner at Hull Royal Infirmary, Stafford Royal Infirmary and as a caseworker at Greenock Social Services Council. These were all locum posts.
For a brief period in 1942-43 she worked in Southport, but on hearing that her brother, who was in the RAF, had been killed over France she returned to Scotland. From November 1943 to May 1948 Marjorie was almoner at Hairmyres Hospital, East Kilbride. She was exempt from war service as this hospital had a military wing but she was active as a volunteer in civil defence.

One of Marjorie’s great achievements was the work she undertook between the years 1949-52 as one of the social work representatives on the Cope Report, set up to establish a register for all medical auxiliaries. Marjorie and her colleague objected vehemently to almoners being included as auxiliaries and were finally successful in the establishment of social work as a separate profession.

During the years 1948-1953 Marjorie held the post of Head Almoner at the Victoria Infirmary in Glasgow and from 1954-57 was Head Almoner at Western Infirmary, Glasgow. During this period she also had a part-time teaching post in the University Department of Public Health and Social Medicine.
In 1969 Marjorie was appointed Deputy Chief Social Work Adviser within the Central Advisory Service of Social Work Services Group.
She held this post with great distinction and was held in the highest regard by all her ?colleagues throughout the Scottish Office.

Her retirement at the age of 61 in 1978 was the commencement of a new career serving within the Scottish voluntary sector. She contributed another two decades of guidance and oversight to many major Scottish charities. It was the recognition of her work as Convener of the Scottish Council on Disability which led to her being honoured by the Queen in the New Year’s Honours List for 1982.
Marjorie’s Christian faith enriched everything she did and achieved. She was a lifelong member of Adelaide Place Baptist Church – where she served as Deacon and subsequently Honorary Deacon – and also the wider denomination of the Baptist Union of Scotland through the Scottish Baptist College. In 1990 she was elected President of the Union – the only woman to have achieved this position.
(Our thanks to Patricia Leary for information on Marjorie)

DAVID COWAN DOBSON (1894–1980), referred to as 'Cowan' Dobson, Associate of the Society of Royal British Artists (1919),Member of the Society of Royal British Artists (1922), Member of the Royal Society of Portrait Sainters (1963); he was a leading Scottish portrait artist who painted with bravado and style, and in this intimate portrait there is a painterly delight in the handling of the medium - the brushwork to the dress very fast and impressionistic.

SIZE:25 x 21 inches inc. frame.
PROVENANCE: Scottish Private Collection.

Charles II carved walnut chair c.1675-85.

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This is a fine chair of its type, the carving of better quality than is usual; this is fluid and accomplished. The walnut is of good colour and patination.
This style of cane backed and seated chairs had represented a revolution in seating comfort, but with the disadvantage of fragility.
A surprising number of these chairs still exist (they were made in their thousands) but many are now suitable only for decorative purposes as woodworm, frequent recaning and damage to the joints and the tall backs have rendered them virtually unusable.
This one has had its cane seat replaced and there is a small damage in the caned back. The chair is absolutely firm and steady, completely ready to use in a normal way.

DIMENSIONS: 45 inches tall, 20 inches wide, 18 inches deep.
PROVENANCE: In the Private Collection of a now retired Suffolk antiques dealer for the last 50 years. There is an old exhibition label under the seat which reads "Cambridge - Lent by A.S.F. Gow M.A. Trinity College 1941. Walnut chair 'English' period of Charles II"

Portrait of a Boy in Red c.1720: ...

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Oil on canvas in a slim modern frame.

A pleasing early 18th century portrait of a good-looking youth, really little more than a boy, painted by an unknown artist who was influenced by the style of Verelst; probably one of the many intinerant painters who travelled the country painting the gentry and prosperous mercantile classes.
However, this portrait is well above average for its type, the face is sensitively painted and with a real feeling of the nature of the sitter and the detail of the sitter's expensive lace is depicted with great care. All in all a very attractive early Georgian portrait.

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, Harman, another Pieter, John, Maria, Simon and Willem.

SIZE: 48.5 x 36 inches inc. frame.
PROVENANCE: A Private Collection of a Leicestershire family for over 70 years,the painting cleaned and relined whilst in their possession.