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Portrait of a Young Boy and his Dog c. 1820; Circle of Sir Thomas Beechey.
Oil on canvas in giltwood frame.

Painted in the late Georgian period, the boy and his pet spaniel are in a flower filled landscape; his hoop and stick in his right hand, it seems as if the two have just paused on their way to play.
The identity of the sitter is not known, but clearly he is from a wealthy family...the clothes and the fact that the portrait is full-length testify to that.

SIR WILLIAM BEECHEY RA FSA (1753-1839). He was born in Burford, Oxfordshire and entered the Royal Academy Schools in 1774.
After some years in London he moved to Norwich, then a very important city, where he enjoyed a good practice painting conversation pieces, and life size portraits from c.1783. He returned to London in 1787 and worked from Brook Street; he became extremely successful and moved to Hill Street, Berkeley Square, then to Hanover Square and ultimately to Harley Street.
He was elected an Associate of the Royal Academy in 1793, then RA in 1798 and was knighted in 1798 (the first artist to receive this honour since Reynolds).
Beechey was appointed Portrait Painter to Queen Charlotte in 1793 and by 1814 Portrait Painter to Her Majesty and to HRH the Duke of Gloucester.

SIZE:55 x 36 inches inc. frame.
PROVENANCE: Private Collection, Holland Park, London.
Ref: 8753
This item has been sold

Pair of Portraits of Two Girls of the Howard Family c.1650: Attributed to Remigius van Leemput.
Both small oil on canvas in carved and giltwood frames, bearing the name plate 'Sir Peter Lely'

The two sitters are most likely members of the Howard of Effingham family.

The Howard family is an English aristocratic family founded by John Howard who was created Duke of Norfolk (3rd creation) by Plantagenet monarch Richard III of England in 1483. However, John was also the eldest (although maternal) grandson of the 1st Duke of 1st creation. The Howards have been part of the peerage since the 15th century and remain the Premier Dukes of the Realm in the Peerage of England, acting as Earl Marshal of England.

William Howard, 1st Baron Howard of Effingham (c. 1510 – 12 January 1573), was the founder of the Effingham branch of the family, he was the eldest son of Thomas Howard, 2nd Duke of Norfolk by his second wife, Agnes Tilney. Howard served four monarchs, Henry VIII, Edward VI, Queen Mary and Queen Elizabeth, in various official capacities, most notably on diplomatic missions and as Lord Admiral and Lord Chamberlain of the Household.

REMIGIUS VAN LEEMPUT (1609?-1675) was a highly accomplished painter working in seventeenth century England, and a celebrated small scale copyist of the works of Sir Anthony Van Dyck (1599-1641) and Sir Peter Lely (1618-80).
Leemput was baptised in Antwerp in 1607 and by 1635 was living in Covent Garden, London, which is when, perhaps, he began working in the studio of Van Dyck, who arrived in England three years earlier. Very little is known about the pupils who trained and worked with Van Dyck, although it is generally acknowledged that Leemput was employed to assist with the preliminary development of his works and also as a copyist. He copied many portraits by Van Dyck, and told Sir Peter Lely that he could copy his portraits better than Lely could himself. Van Leemput died in 1675, and on 9 Nov. was buried in St. Paul's, Covent Garden.

SIZE: 16 x 13 inches inc. frame.
PROVENANCE: Private Collection, a Northamptonshire Country House.
Verso: an old, handwritten label , badly torn " No.1 .....Howard..Daught(er?) ..Lord Effingham Howard. Sir P.Lely'. Both paintings bear the chalk inscription 'Hemsley'.
Ref: 8931
This item has been sold

Portrait of a Gentleman c.1705, by Michael Dahl.
Oil on canvas in a period carved and giltwwod frame.

A good quality portrait absolutely typical of its time; the handsome young sitter wears a fashionably large and expensive wig. (The expression 'bigwig' for a rich or important person comes from this fashion).
Not only typical of its time but also of Dahl's style; the turned head, with more than a hint of swagger, and the negligently draped silk wrap with casual tying of the cravat...all very much 'a la mode' for the young aristocrat or gentry.

MICHAEL DAHL (1659-1743) was born in Stockholm; after studying in Paris, Rome and Frankfurt he settled in London in 1689. 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'.

His style is extremely close to Kneller but his interpretation of character is less brash and more human. He has a quieter but somehow more understanding appeal to character which relies on its own integrity to make its impact; his works are of a real distinction.
This painting is typical of Dahl's sensitive portraiture and is of considerable charm.

PROVENANCE: H.A. Bright of Brockbury Hall, Colwall, Herefordshire, and by descent to:
A.H. Bright, by whom lent to:
F.Tustin, Colwall, by 1938.

Brights have occupied Brockbury since the time of Henry Bright (1562-1626), prebendary of Worcester and master of King's School. The existing brick house was built by Robert Bright (1664-1749) but has an earlier core. It was refronted in 1738, probably by Robert Bright's grandson, also Robert, a West Indies merchant.

SIZE: 35 x 29.5 inches inc. frame.
Ref: 8926/35
This item has been sold

Portrait of William Stanhope, 1st Earl of Harrington c.1725; by Jonathan Richardson.
Oil on canvas in good carved and giltwood 18th c. frame.

This fine painting, the earliest known likeness of Harrington, is illustrated in the National Portrait Gallery's publication of 1977 'Early Georgian Portraits' (p.135, plate 362 (see image 5) as attributed to Kneller, present location unknown.
Philip Mould OBE, Mayfair portrait specialist and star of TV's 'Fake or Fortune', reattributed this portrait to Richardson when it was in his possession.

"A number of portraits were produced after the sitter's elevation to the peerage in 1730 but the only one prior to that must be of the young-looking man in armour sold from the family collection, Sotheby's, 19 February 1964, lot 20".
This fresh and lively portrait is a fine example of Richardson's work and shows why Sir Roy Strong in his book 'The British Portrait' describes the artist as "the ablest of the painters who came to prominence during the last decade of Kneller's life and who flourished after his death".

Stanhope’s early career saw his greatest achievements. After a spell in the army from 1710 to 1715, Stanhope was appointed plenipotentiary to Madrid. The Spanish had not yet come to terms with their declining power, and Stanhope’s task was made almost impossible by the ineptitude of the Spanish Government.
During the outbreak of war between Spain and England during the War of the Quadruple Alliance (1718-1720), he fought a number of successful engagements, most notably as a volunteer with the French army where he commanded a raid on Spanish ships in the port of St Andero.

After the war, Stanhope returned to Madrid as ambassador. He achieved a notable coup in 1726, when the disgraced Spanish first Minister, Baron Ripperda, fled to Stanhope’s house and revealed Spain’s plans for an invasion of England. In 1727 Harrington was deputed as the British plenipotentiary to the congress of Aix-la-Chappelle, for which work he was created Lord Harrington in 1730. In the same year he became Secretary of State for the Northern Department. In 1746 he was appointed Viceroy of Ireland.

JONATHAN RICHARDSON (1665–1745), sometimes called "the Elder" to distinguish him from his son, was an English artist, collector of drawings, and writer on art, working almost entirely as a portrait-painter in London.
Richardson was born in 1666, but when he was about seven his father died and his mother married again. Richardson became a scrivener's apprentice, but he was released early when his master retired. Richardson was lucky enough to be taken on as a painting apprentice by John Riley. He learnt the art of portraiture from Riley whilst living at his master's house. Richardson's wife was Riley's niece.

Richardson was even more influential as a writer than as a painter according to Samuel Johnson. He is credited with inspiring Joshua Reynolds to paint and theorise with his 1715 book 'An Essay on the Theory of Painting'.

In 1731 he was considered by some art-critics as one of the three foremost painters of his time with Charles Jervas and Michael Dahl. He was the master of Thomas Hudson and George Knapton.

SIZE: 37.5 x 32.5 inches inc. frame.

By descent.
Collection of the Earls of Harrington.
Sale, Sotheby's 1964.
Private collection
With Philip Mould Ltd (Historical Portraits), Mayfair, London.
Private collection.

John Kerslake, 'Early Georgian Portraits', National Portrait Gallery, p135, plate 361.
Ref: 8645
This item has been sold

Portrait of Anne Frederick 1782, by James Northcote R.A.
Oil on canvas in original late Georgian gilded frame.
Inscribed and dated 1783 verso.
It was said to have been painted by James Northcote under the supervision of his former master Sir Joshua Reynolds.

Mrs Frederick was born Ann Gregson, daughter of Francis Gregson: she married Thomas Lennox Frederick, son of the Honourable Charles Frederick, Knight of the Bath, in 1773, but they had no children.
Born in London in 1750, Thomas had entered the navy in 1768. He was a lieutenant on HMS Ocean at the time of his marriage.
Anne was known as "an accomplished young lady and famed for her lively witticisms".
Thomas went on to become an admiral, dying in 1779.

Mrs. Frederick was godmother to Charles Bayley, only son of William Bayley. On her death, having no children, this portrait passed to the Bayleys of Stoke Damerall near Plymouth. Northcote had painted Mary Bayley and Richard Bayley at the same time as he portrayed Anne Frederick. The Bayley portraits, framed exactly as this one, were sold at Christie's in 2005 for £8400 and £6000 respectively.

This is a striking portrait showing the very latest fashions of the period, especially the hat. Women’s fashion in the late 1780s was characterised by hats of considerable size, frequently hung with veils and ribbons or decorated by feathers and perched atop a wig. The principal society portraitists all leave a remarkable record of such hats in their work of this period. In Gainsborough’s work the fashion so frequently occurs that this style of headgear is sometimes referred to as a Gainsborough hat. Sir Thomas Lawrence depicts similar fashions.

JAMES NORTHCOTE R.A.(1746-1831) was one of the most prolific portrait painters of the late 18th and early 19th centuries. In 1777, following a period of apprenticeship in the studio of Joshua Reynolds, he journeyed to Paris, Rome and Germany on a prolonged Grand Tour. In Rome he was elected to the Accademia del Forti and, like so many artists before him, took the opportunity to learn from the old masters through sketches and observational studies. On his return to England in 1780, his new found appreciation for the Classical manner increasingly informed his own work.
Northcote had been elected ARA in 1786 and RA in 1787.
His principal talent lay as a portraitist, though forays into the genre of History Painting, notably with 'The Wreck of HMS Centaur' (1784,) helped establish his reputation. Through economic necessity Northcote was compelled to pander to the popular taste for small fancy subjects, 'hack-work' as he called it, illustrating novels from the celebrated authors of the day. An ambitious moral series, entitled Diligence and Dissipation, which was intended to rival Hogarth's Marriage a la Mode (1796) proved a financial failure and Northcote returned to portrait painting in earnest.

SIZE:35.75 x 30.75 inches inc. frame.
*Commissioned from the artist in 1782 for 8 guineas.
*Bequeathed to Charles Frederick Baylay, godson of Mr Frederick.
*Thence by family descent to the present day.

Sold with photocopies of various historical documents (some shown here).
Ref: 8726
This item has been sold

Portrait of a Girl c.1735: Circle of Joseph Highmore.
Oil on canvas in a Georgian gilt frame (lower edge of the frame has numerous small damages).

An enchanting portrait of a young girl in a pink dress with a blue wrap; she smiles rather shyly at the viewer.
Portraits of this small size were often displayed in the more intimate rooms of a household and one can imagine this in the girl's mother's boudoir or her private sitting room.

JOSEPH HIGHMORE (1692-1780) was an English portrait and historical painter, illustrator and author.
He was one of the most talented and versatile English portraitists of the eighteenth century. He first trained, for five years, as a lawyer but abandoned the practice and entered Sir Godfrey Kneller's Academy in London in 1713. When he began work as a professional artist in 1715 he found his natural ability to draw a sharp likeness soon won him a large clientele in the City, while his legal education and manner helped gain access to the nobility and gentry. Such was his success that the poet John Bunce wrote the following verse soon after the death of Kneller in 1723;

“No more let Britain for her Kneller grieve
In Highmore see a rising Kneller live
Whose happy pencil claims as high a name
If equal merit challenge equal fame.”

Although Highmore’s style first followed that of Kneller (as did whole generations of early eighteenth century artists), he also assumed the more forceful and realistic characterisation of Hogarth. As a result, Highmore’s portraits soon lost much of the Augustan stiffness of Kneller, instead showing a more subtle and fluid construction. This portrait of the mid 1730s demonstrates a further evolution of Highmore’s style following his trip to France in 1734. Like many of his contemporaries, such as Hayman and later Gainsborough, Highmore was heavily influenced by the French rococo manner first popularized by the influential French painter and engraver Hubert Gravelot, who arrived in London in 1732.

SIZE:19 x 17.5 inches inc. frame.
PROVENANCE:English Private Collection.
Ref: 8758
This item has been sold

Portrait of a Gentleman c.1660; Circle of Bartholomeus van der Helst.
Oil on canvas.
This is a portrait of the Dutch Golden Age, the age of Rembrandt and Hals. The careful and precise painting of fabric and lace was typical of the period and van der Helst was noted as a master.
The gentleman, fashionably and expensively dressed, stands in a relaxed yet elegant pose; his expression serious and contemplative as he looks thoughtfully at the viewer.
In the distant background is a huge building...castle, or palace, it is not possible to tell. Clearly it was of significance to the sitter.

Bartholomeus van der Helst (1613 – 1670) was a Dutch portrait painter.
Born in Harlaam he moved to Amsterdam about 1639 where van der Helst was a contemporary of Rembrandt. He soon became the most popular painter of portraits in that city, his flattering portrayals being more immediately appealing than Rembrandt's dark and introspective later work. Some of Rembrandt's pupils, including Ferdinand Bol and Govaert Flinck, adopted Van Helst's style instead of their master's.
Van der Helst remained the most influential portrait painter of the Amsterdam elite until his death in 1670.

SIZE: canvas: 44.5 x 36.5 inches.
frame: 51 x 43 inches.
Ref: 8800
This item has been sold

Portrait of a Gentleman c.1670; attributed to Jacob Huysmans.
Oil on canvas in black and gilt period frame.

The sitter is probably a Johnstone of Pentefract, a Cudworth, or a Hake of Chatteris and Pilsgate.
The portrait is faintly inscribed, upper right, "Ae 23" (in the 23rd year of his age).

This portrait came from Denston Hall in Suffolk (see image 7) the estate which for centuries belonged to the Robinson family.
Having descended through various branches of the family the different estates became invested in Algernon Dunn Gardner in the early 20th century. Connected to the Robinson family by marriage, Dunn Gardner kept this portrait on the walls of Denston until it was removed by his daughter when the property was sold 30 years ago. It was then kept in storage until now.

JACOB HUYSMANS (c.1633–1696) was a Flemish portrait painter. He moved to England during the reign of Charles II where he became one of the fashionable painters of the court. His chief portraits are those of Izaak Walton and Catherine of Braganza, Charles II's wife (both displayed in the National Portrait Gallery, London)
He was born into a family of artists in Antwerp. He was the uncle of Jan-Baptiste and Cornelis Huysmans. He learned to paint from Gilles Backereel and Frans Wouters and moved to England, where he later influenced David des Granges (1611–1675). His first works were pastiches of work from Anthony van Dyck. As a Roman Catholic he was favoured by Catharine of Braganza. When Samuel Pepys visited his workshop in Westminster on 26 August 1664, he described him as a 'picture-drawer ... which is said to exceed Lilly (Lely). Huysmans's most important portrait of Catharine of Braganza, Queen Catharine as a Shepherdess (c. 1664; Brit. Royal Col.), was one of the pictures Pepys saw on that occasion. Painting his female subjects as sheperdesses with clothing embellished with embroidery and jewellery were typical of his style.

Huysmans died in Jermyn Street, London, in 1696, and was buried in St. James's Church in Piccadilly.

SIZE: 37.25 x 32 inches inc. frame.
PROVENANCE: By descent to The Manor House, Chatteris and thence to the Dunn Gardner Collection, Denston Hall in 1908 then by descent.
Old handwritten labels verso.
Ref: 8795
This item has been sold

Portrait of a French Nobleman c.1700; Studio or Circle of Hyacinthe Rigaud.
Oil on canvas in early 19th c. giltwood frame.

The aristocratic sitter holds a typical Baroque swagger pose, his right hand on a pile of books of which one is 'Regie de 1700' (Government of 1700).

HYACINTHE RIGAUD, (1659 - 1743), was one of the most important portrait painters during the reign of King Louis XIV. His instinct for impressive poses and grand presentations precisely suited the tastes of the royal personages, ambassadors, clerics, courtiers, and financiers who sat for him.He and his friendly rival Nicolas de Largillière were their era's leading portraitists, but Rigaud painted aristocrats while Largillière concentrated on the wealthy bourgeoisie. Their differing approaches reflect their clients' status. Rigaud's sitters are shown in elegant stances of natural superiority; they are members of society whose costumes and gestures describe their function within the state. He combined Anthony van Dyck's prototypes and opulent style with Philippe de Champaigne's stiff, linear formality. In his unofficial portraits, however, Rigaud's interest in realism and character displays the influence of Rembrandt van Rijn. Since Rigaud's paintings captured very exact likenesses along with the subject's costumes and background details, his paintings are considered precise records of contemporary fashions.

Rigaud studied in Montpellier and Lyon before arriving in Paris in 1681. He won the Prix de Rome in 1682 but on Charles Le Brun's advice did not go to Italy. In 1688 Rigaud's flattering, graceful portrait of King Louis XIV's brother brought him favour at court. His subjects included dignitaries at Versailles, visiting royalty, prominent artists, and church and military leaders. His studio employed both part-time specialists and full-time assistants like Jean-Marc Nattier. They often copied his portraits, which Rigaud touched up as necessary. Elected to the Académie Royale as a history painter in 1700, Rigaud later taught there.
In 1709 he was made a noble by his hometown of Perpignan. In 1727 he was made a knight of the Order of Saint Michael. Rigaud died in Paris in 1743 at the age of 84.

SIZE: canvas 45 x 35.5 inches.
Framed 53 x 43.75 inches.
*The Bryan Hall Collection, Banningham Old Rectory, Norfolk (see image 6).(Mr. Hall's collection, built up over 60 years, was acquired mainly from country house sales of the great Norfolk families during the post war years). His collection was dispersed in 2004.
* Private Collection.
Ref: 8836
This item has been sold

Portrait of Sir John Percival, Bart. (1629-86) Circle of Sir Peter Lely
The sitter is Sir John Percival, Bart. of Lohort Castle, Cork. Son of Sir Phillip Percival and Catherine Usher, he was born in 1629 into a wealthy English family who settled in Ireland during the reign of Elizabeth I. The Percivals had been richly rewarded by Elizabeth with estates in Ireland as a result of the work of Sir John's grandfather, Richard Percival, who had played a pivotal role in decoding documents captured from the Spanish which subsequently proved to be the invasion plans for the Armada.

Sir John Percival inherited Lohort Castle on his father,s death in 1653, but also built another magnificent house Burton Park, at Churchtown, in 1676. He married Katherine Dering, sister to Mary, Lady Knatchbull, an ancestor of the Brabourne family of Kent.

Sir John Percival died in 1686. Tragically his great work Burton Park was plundered and ruinated in 1694 by repparees, retreating from their defeat by William of Orange at the Battle of Boyle. The house stood a ruin until it was rebuilt by one of Percivals decendents, now the Earls of Egmont, in 1790.

Records show that Percival was painted by both Sir Peter Lely and Sir Godfrey Kneller, the most eminent royal portraitists of the time. This picture, painted circa 1680, reveals a close knowledge of the work of Lely. The depiction of the costume is typical of Lely and the Restoration in its flamboyance, but the handling of the paint and softer modelling suggest the hand of Henry Tilson, a pupil and later assistant of Lely's, and a painter of great charm in his own right.

SIZE:Oil on canvas 50 x 40 ins
In carved and gilded frame 57 x 47 ins
Inscribed, upper right,
'Sir John Percivele Bart.'

By direct descent from the Brabourne family, descendants of Lord Mountbatten
This portrait of Sir John Percival hung in the collection of Patricia, Countess of Burma, Lady Brabourne, wife of Sir John Brabourne and daughter of Lord Mountbatten.
An old label on the reverse records the location: 'Lady Brabourne, 1st Landing, 66' where it hung next to the portrait of his wife Katherine, at the family seat of Mersham Le Hatch, Kent.

Latterly in a private collection in an Elizabethan country house in East Anglia.

Ref: nfrk1
This item has been sold

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