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Our website was last updated on: 22 June 2017
 
(B) PORTRAITS SOLD
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Portrait of Nicholas Lechmere Pateshall c.1815; Studio or Circle of Domenico Pellegrini.
Oil on canvas in giltwood frame.
The young officer, Captain Lechmere Pateshall R.N., looks out proudly; his hair in the latest style, he wears the dress uniform of a post captain, with twin epaulettes and much gold lace, holding his sword and with his bicorne hat tucked beneath his right arm.
(An officer was 'made post' when he was first commissioned to command a rated vessel...that is, a ship too important to be commanded by a mere commander. Being 'made post' was the most crucial event in an officer's career.
A commander wore a single epaulette on the left shoulder; a post captain with less than three years seniority wore a single epaulette on the right shoulder, and a post captain with three years or more seniority wore an epaulette on each shoulder.)

NICHOLAS LECHMERE PATESHALL (1782 - 1854) was a member an old gentry family that traced its origins back to the Middle Ages. He was the fourth son of Edmund Lechmere Pateshall and his wife, Ann, daughter of William Burnam and was born at Allensmore, Herefordshire.

He was made a Royal Navy lieutenant in 1801 at the age of 19,and was appointed Master and Commander of HMS Reindeer in 1811.( Reindeer was an 18 gun brig-sloop, launched in 1804, captured and burnt in 1814 after a gallant and bloody fight with the USS Wasp, an American warship.)
In 1815 Pateshall was made Captain of HMS Polyphemus, a ship of the line of 64 guns that had been one of Nelson's fleet at the Battle of Trafalgar.
In this year the Napoleonic War that had ravaged Europe since 1799 finally came to an end with the French defeat at Waterloo.
Pateshall was posted in the London Gazette as 'Retired Captain of the Fleet' 1 September 1846, and in 1850 received notice from the Admiralty that, due to age and seniority, he needs no commission to become Retired Rear Admiral.
Pateshall died in 1854.

DOMENICO PELLIGRINI (1759 - 1840) was an Italian painter.
He completed his early studies in Venice and then Rome, where he was a pupil of Domenico Corvi. In 1792 he left for London, where he began attending the Royal Academy of Arts, encouraged by his friend and mentor Francesco Bartolozzi, to whom he dedicated a portrait.

He lived for a long time in the British capital where he worked and exhibited until 1812, during which time he exhibited 35 portraits at the Royal Academy.
In 1812 he moved to Lisbon, again on the advice of Bartolozzi, who already lived there.
After some time he returned to Italy, where he worked mainly in Rome and Milan.
He painted many British military officers including Admiral Jervis and the Duke of Wellington.
He died in Rome in 1840.

SIZE:37 x 32 inches inc. frame.
PROVENANCE: Estate of William T. Martin.
VERSO:two old inscriptions referring to the estate of William T. Martin as the donor of the portrait, plus an early 20th c. label for W. Freeman and Sons, Picture Restorers of Albemarle Place, London.
Ref: 8668
This item has been sold





Portrait of Princess Henriette Adelaide of Savoy c.1665; Continental School.
Oil on canvas in a 19th c. frame.

PRINCESS HENRIETTE ADELAIDE OF SAVOY (Enrichetta Adelaide Maria; 6 November 1636 – 13 June 1676), was the wife of the Ferdinand Maria, Elector of Bavaria. She had much political influence in her adopted country and with her husband did much to improve the welfare of the Electorate of Bavaria.

Born at the Castello del Valentino in Turin, she was the older of twin girls; her sister Princess Catherine Beatrice of Savoy died in Turin 26 August 1637. On 7 October 1637 she lost her father Victor Amadeus I, Duke of Savoy, when she was just one year old. Her mother, Christine of France, was the daughter of Henry IV of France and Marie de' Medici. After the death of her father, her mother served as Regent of Savoy on behalf of two of Henriette Adelaide's brothers: Francis Hyacinth (1632–1638), then Charles Emmanuel II (1634–1675) after the older brother died. Her uncles Prince Maurice of Savoy and Thomas Francis, Prince of Carignano, intrigued against their sister-in-law and her French entourage.

When the first heir Francis Hyacinth died in 1638, the brothers Maurice and Thomas started the Piedmontese Civil War with Spanish support. The two parties in the war were known as the "principisti" (supporters of the princes) and "madamisti" (supporters of "Madama Reale," the Regent Christine ). With the support of her brother, King Louis XIII of France, Marie Christine was able to defeat the challenge to her rule.

On 8 December 1650 Henriette married Ferdinand Maria, heir to the Electorate of Bavaria future. The next year he became Elector upon the death of his father Maximilian.

Henriette Adelaide had a strong influence on Bavarian foreign affairs in favor of France, whose royal family counted her mother as a member. This led to an alliance between France and Bavaria against Austria. One of the results of the alliance was the marriage of Henriette's eldest daughter Maria Anna and her cousin Louis, Dauphin of France (le Grand Dauphin), in 1680.

She had a leading role in the building of Nymphenburg Palace and the Theatine Church in Munich. Many Italian artists were invited to Munich, and she also introduced Italian opera to the court of Bavaria.

Henriette died in Munich and was buried in the Theatine Church - the church she and her husband built as a gesture of thanks for the birth of the long-awaited heir to the Bavarian crown, Prince Maximilan II Emanuel, in 1662.

This is a sensitive and pleasing image by an artist as yet unidentified; the drapery is depicted in a confident painterly manner, with a real enjoyment in the handling of the medium.
Our thanks to Eduardo Puerto Mendoza for the identification.

SIZE: 23.5 x 20.25 inches inc. frame.
PROVENANCE: Private Collection, Oxfordshire.
Ref: 8778
This item has been sold





Portrait, traditionally identified as Admiral Robert Blake c.1650: Circle of Robert Walker.
Oil on canvas in 18th century gilt frame.

Originally an oval, this portrait has been mounted onto a rectangular canvas, possibly in the 18th century as that is the date of the frame. The inscriptions dates from the same period.
Roughly translated the Latin inscriptions mean " Died in 1657,in his 59th year" and "Blake the victor of the seas. First Cromwellian admiral of the ocean."

ROBERT BLAKE (1598-1657)was one of the most important military commanders of the Commonwealth of England and one of the most famous English admirals of the 17th century, whose successes have "never been excelled, not even by Nelson" according to one biographer. Blake is recognised as the chief founder of England's naval supremacy, a dominance subsequently inherited by the British Royal Navy into the early 20th century. Despite this, due to deliberate attempts to expunge the Parliamentarians from history following the Restoration, Blake's achievements tend not to receive the full recognition that they deserve.
In a letter written on 17 April 1797, to Admiral Sir John Jervis, Admiral Lord Nelson wrote "I do not reckon myself equal to Blake". He ranked Robert Blake as one of the greatest Naval Generals ever known, even when compared with his own reputation.
Blake died of old wounds on board his flagship within sight of Plymouth.
After lying in state in the Queen's House, Greenwich, he was given a full state funeral and was buried in Westminster Abbey in the presence of Oliver Cromwell and the members of the Council of State (although his internal organs had earlier been buried at St Andrew's Church, Plymouth).

ROBERT WALKER (1599–1658) was an English portrait painter, notable for his portraits of the Lord Protector Oliver Cromwell and other distinguished Parliamentarians of the period. He was influenced by Van Dyck, and many of his paintings can now be found at the National Portrait Gallery, London.

SIZE:36 x 31 inches inc. frame.
PROVENANCE:Private Collection.
VERSO: trade label of Frost and Reid of London and Bristol, restorers, with the handwritten number 4226 and the date 10.11.47.
Old storage label for Cox and Co. of Burnham on Sea.
Ref: 8814
This item has been sold





Portrait of a Young Man in Red c.1720: Attributed to Hans Hysing
Oil on canvas in a fine carved and giltwood period frame.

A good quality portrait absolutely typical of its time; the sitter wears a fashionably large and expensive wig. (The expression 'bigwig' for a rich or important person comes from this fashion).

HANS HYSING or Huyssing (1678-1752/1753), born at Stockholm in Sweden. He came to England in 1700 as assistant to his fellow Swede Michael Dahl, the portrait-painter, with whom he lived for many years.
He succeeded after Dahl's death to his practice, and adopted his manner. He was patronised by the family of George II, and painted the queen, the three royal princesses, and George III as a boy.
Many of his portraits, including Sir Robert Walpole, the speaker Arthur Onslow, Dr. John Theophilus Desaguliers, James Gibbs (the architect), were engraved in mezzotint by John Faber (1695-1756), and others. George Vertue describes portraits by him of the French engraver Joseph Goupy as 'well painted, much in Mr. Dahl's later manner.'

SIZE: 38 x 33 inches inc. frame.
PROVENANCE: English private collection.




Ref: 8606
This item has been sold




Portrait of a Gentleman c.1650: English School.
Oil on canvas in a 17th century carved and giltwood frame.

The sitter wears the black clothing and linen band of an academic, probably a doctor of divinity or law.
It is interesting that this portrait belonged to Robert Spencer until his death in 1997 then to Christopher Hogwood...both leading figures in the field of early music. It seems likely then that they both believed this man to be of importance in that field.
Certainly it is a fine portrait of an intelligent and sensitive looking man and the viewer is in intimate proximity to the image which fills the frame with a sense of quiet strength.

SIZE: 20 x 14 inches, canvas.
26.5 x 19 inches inc. frame.

PROVENANCE:Collection of Robert Spencer.
Collection of Christopher Hogwood CBE from 1997 - 2015).

ROBERT ALLEN SPENCER (1832-1997) was a leading figure in the early music field, equally accomplished as a singer, lutenist, guitarist, musicologist and teacher.Spencer taught at the Royal Academy of Music in London for 23 years. He went there originally to teach lute and then took a class in English song. He later started a similar class at the Royal College of Music and taught at numerous conservatories and summer schools both in the UK and abroad. He was regarded as a most sensitive and perceptive teacher.Apart from all his performing and teaching activities, Spencer's musicological researches are equally impressive and lack no respect from the pundits. He contributed numerous articles on a variety of subjects from rediscovered manuscripts to historical evidence gained from paintings.

CHRISTOPHER JARVIS HALEY HOGWOOD, conductor, harpsichordist and musicologist, born 10 September 1941; died 24 September 2014 at home in Cambridge.
Founder of the early music ensemble the Academy of Ancient Music, he was an authority on historically informed performance and a leading figure in the early music revival of the late 20th century.
At the time of his death, Hogwood was Honorary Professor of Music in the University of Cambridge, Consultant Visiting Professor of historical performance in the Royal Academy of Music and visiting professor at King's College London. He was an Honorary Fellow of Jesus College, Cambridge and Pembroke College, Cambridge.
In 1989, Hogwood was appointed a Commander of the Order of the British Empire (CBE). He was the recipient of the Halle Handel Prize in 2008.
Ref: 8880
This item has been sold





Portrait of an Edwardian Lady c.1905; Attributed to Harrington Mann.
Oil on canvas in a reproduction frame of appropriate type.
Verso: inscription, 'Harrington Mann' on the lining, presumably duplicating an inscription on the canvas.

A fine portrait of an elegant society lady in the early 1900s, typical of Mann's work. Mann's use of colour was influenced by James McNeill Whistler and his bold brushwork shows the influence of John Singer Sargent...both of these can be seen in this portrait, especially the painterly delight in the use of the medium shown in his treatment of the dress fabric. (See images 4 and 5).


HARRINGTON MANN RP RE NPS NEAC (1864-1937) was born in Glasgow where he studied at the School of Art; then the Slade School under Legros and in Paris under Boulanger and Lefebvre.
Mann was a member of the Glasgow Boys movement in the 1880s.
He exhibited 51 paintings at the Royal Academy,1 at the Society of British Artists, 1 at the New English Art Club, 87 at the Royal Society of Portrait Painters, National Portrait Society 1882-1937 Glasgow, Rome and London and many others. Elected RP in 1900, NPS in 1911.
Mann married the artist Florence Sabine and was the father of the artist Cathleen Mann, who married the Marquess of Queensbury.
He established a highly successful practice as a society portraitist, and received a huge number of commissions from the United States. He had a house in New York as well as in London. His sitters included members of the Royal Family. He died in New York in 1937.

His work is in the Scottish National Portrait Gallery, Imperial War Museum, Tate, and the Art Galleries of Glasgow, Belfast, Sydney and Melbourne.

SIZE: 39 x 30 inches inc. frame.
PROVENANCE: Old Private Collection in the Midlands, built up by previous generations.
Ref: 8902
This item has been sold





Portrait of Louise de La Valliere; Follower of Pierre Mignard.
Oil on canvas in a giltwood frame.
Based very closely on the 17th century portrait by Pierre Mignard (the only major difference being the left arm), this is an 18th century small scale portrait of one of the most famous lovers of Louis XIV.
The talented unknown artist has painted this portrait with a miniaturists skill; the detail is superb.

LOUISE DE LA VALLIERE (Françoise Louise de La Baume Le Blanc; 6 August 1644 – 7 June 1710) was a mistress of Louis XIV of France from 1661 to 1667. She later became the Duchess of La Vallière and Duchess of Vaujours in her own right.
Louise was born in Tours, the daughter of an officer, Laurent de La Baume Le Blanc (who took the name of La Vallière from a small estate near Amboise) and Françoise Le Provost. Laurent de La Vallière died in 1651; his widow remarried in 1655, to Jacques de Courtarvel, marquis de Saint-Rémy, and joined the court of Gaston, Duke of Orléans, at Blois.

Louise was brought up with the younger princesses (the future Grand Duchess of Tuscany, Duchess of Alençon, and Duchess of Savoy), the half-sisters of La Grande Mademoiselle. After the death of Gaston, Duke of Orléans, his widow moved with her daughters to the Luxembourg Palace in Paris and took the sixteen-year-old Louise with them.

Louise had been at Fontainebleau only two months when she and Louis XIV fell in love, becoming the king's mistress. It was Louise's first serious attachment and she was reportedly an innocent, religious-minded girl who initially brought neither coquetry nor self-interest to their secret relationship. She was not extravagant and was not interested in money or titles that could come from her situation; she wanted only the King's love. She bore the king five children.
By 1667 Louis had tired of her and taken other mistresses; after much pleading to the monarch she was finally permitted to enter the Carmelite convent in the Faubourg Saint-Jacques in Paris under the name of Sister Louise of Mercy. She died, a nun, in 1710.

PIERRE MIGNARD (1612-1695) was a member of a family of artists, he was a painter in the classical French Baroque manner, known primarily for his court portraits.

In 1635 Mignard left the studio of Simon Vouet for Italy, where he spent 22 years and made a reputation that brought him a summons to Paris in 1657. Successful with his portrait of Louis XIV and in favour with the court, Mignard pitted himself against Charles Le Brun; he declined to enter the French Royal Academy, of which Le Brun was the head, and he organized the opposition to its authority.
Mignard was chiefly active in portraiture; many of the beauties and celebrities of his day sat for him, including Molière, the Viscount de Turenne, Jacques Bossuet, the Marquise de Maintenon, the Marquise de Sévigné, the Duchesse de La Valliere and the Marquise de Montespan. His skilful technique and graceful arrangements are noteworthy.

SIZE: 19 x 15 inches inc. frame.
PROVENANCE: Norris Castle, Isle of Wight (see image 8)
Ref: 8906
This item has been sold





Portrait of a Noblewoman, said to be Queen Henrietta Maria, c.1640; Follower of Daniel Mytens.
A small full length portrait, oil on canvas in giltwood frame.


In this elegant portrait, an exquisite version 'in little' of a life-size Court painting, the sitter is resting in a chair of estate and wearing extremely rich Court clothing and jewellery.
The portrait itself has a jewel-like quality enhanced by the sitter's almost doll-like appearance.
In the Rushbrooke Hall inventory of paintings this portrait was always referred to as Queen Henrietta Maria, but the attribution is doubtful. (The late Mr. Quinn did not agree; see below).

Of cabinet size the painting has a great theatrical sense, using a combination of drapery and pose. (The 'cabinet' in the 17th century was a small, intimate room in which were kept items important to the owner,and only their closest friends would be admitted).

HENRIETTA MARIA of France (1609 – 1669) was the Queen consort of England, Scotland and Ireland as the wife of King Charles I. She was mother of two kings, Charles II and James II and grandmother of two queens and one king, Mary II, William III and Anne of Great Britain as well as paternal aunt of Louis XIV of France.

Her Catholic religion made her unpopular in England, and also prohibited her from being crowned in an Anglican service; therefore she never had a coronation. She began to immerse herself in national affairs as civil war loomed on the horizon, when the English Civil War began in 1642, Henrietta Maria was in Europe.
She returned to England in 1643 when she landed in Yorkshire with troops. She joined up with Royalist forces in the north and made her headquarters in York. She moved to Oxford to be with Charles but fled to France in July 1644 following the birth of her youngest daughter, Henrietta Anne when the position of the Royalists looked bleak; here she remained along with her sons.

Her husband's execution in 1649 was a terrible blow. She brought up her youngest child Henrietta in her own faith, but her efforts to persuade her youngest son, the Duke of Gloucester, to take the same course only produced discomfort in the exiled family.
The story of her marriage with her attached servant Lord Jermyn needs more confirmation than it has yet received to be accepted, but all the information which has reached us of her relations with her children points to the estrangement which had grown up between them.
After the Restoration she returned to England when she found that she had no place in the new world. She received from Parliament a grant of £30,000 a year in compensation for the loss of her dower-lands, and the King added a similar sum as a pension from himself.
In January 1661 she returned to France to be present at the marriage of her daughter Henrietta to the Duke of Orleans.
In July 1662 she set out again for England, and took up her residence once more at Somerset House. Her health failed her, and on the 24th of June 1665, she departed in search of the clearer air of her native country.
She died on the 31st of August 1666, at Colombes, not far from Paris.

Daniël Mijtens (Delft, c. 1590 – The Hague, 1647/48), known in England as DANIEL MYTENS the Elder, was a Dutch portrait painter who spent the central years of his career working in England. He was born in Delft into a family of artists and trained in The Hague, possibly in the studio of Van Mierevelt.

SIZE: 27.5 x 18.5 inches inc. frame.

PROVENANCE:
*Rushbrooke Hall, Suffolk until the contents sale of 1919. (Image 5)
*Nowton Cottage, Suffolk until 2010. (Image 6)
*With Roy Precious Fine Art.
*Collection of the late John Quinn, Kent.
(Mr. Quinn had a theory, backed up by his research, that this portrait was of Queen Henrietta Maria and contains extensive coded references to her relationship with Lord Jermyn. All this information is available to the purchaser, should they wish it.)

Verso: old label: 'Francis Collins from Great Portland Street.
Ref: 8791
This item has been sold





Portrait of Mrs Christian c1780; Attributed to John Foldsone.
Oil on canvas in reproduction frame.
A charming portrait of this atractive young lady, seemingly lost in thought. She is dressed in the height of fashion of the time, her wig lightly powdered and a silk shawl draped negligently over her arm.

JOHN FOLDSONE (FOLDSTONE) fl.1769-1784. He was a portrait and history painter but only portraits are known.
He enjoyed success from 1769, living in London, in Little Castle Street, and later in Newman Street, but died young in 1784 leaving a wife and children.
He was the father of the miniature painter Mrs. Anne Mee.
Foldsone exhibited at the Society of Artists of Great Britain 1769-70 and the Royal Academy 1771-83. His speciality was small portraits such as this one which he painted at the sitter's home. This portrait, like much of his work, shows the influence of Reynolds and Romney.
His pair of portraits showing Elizabeth Haffey, and her brother, John Burges Haffey, as children, were engraved in mezzotint by Robert Laurie.
Foldsone's work can be seen at the National Trust property Stouhead and at Grimsthorpe Castle.

SIZE: 26 x 22 inches inc. frame.
VERSO: partial old handwritten label "Mrs. Christian, mother of Harriet, afterwards Mrs. Norman Co..."
PROVENANCE: English Private Collection.
Ref: 8626
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Portrait of Mary, wife of George Perrott, early 18th century; Follower of Jonathan Richardson.
Oil on unlined canvas in carved period frame.

It is most unusual for a painting of this age to remain unlined; as a result the canvas has lost a small amount of tension, but, interestingly, as it has not been covered by a lining, the sitter's name can be seen painted on the verso.

An inscription to the sitter's right reads: "MARY wife of GEO. PERROTT Esqr / Baron of the Exchequer / and dau. of Wm. BOWER Esqr / of Bridlington, Yorkshire. / ob:1784."


GEORGE PERROTT (1710-1780), Baron of the Exchequer, born in 1710, belonged to the Yorkshire branch of the Perrotts of Pembrokeshire. He was the second son of Thomas Perrott, Prebendary of Ripon and Rector of Welbury in the North Riding of Yorkshire, and of St. Martin-in-Micklegate in the city of York by his wife Anastasia, daughter of the Rev. George Plaxton, Rector of Barwick- in-Elmet in the West Riding of Yorkshire.
After receiving his education at Westminster School, he was admitted a student of the Inner Temple in November 1728, and was called to the bar in 1732.

He married, in 1742, MARY, only daughter of JOHN BOWER of Bridlington Quay, Yorkshire and widow of Peter Whitton, Lord Mayor of York in 1728. Mary was born in 1702 in Bridlington Quay.

In May 1757 Perrott was elected a bencher of his inn, and in 1759 was made a King's Counsel.
On 24 Jan. 1763 he was called to the degree of Serjeant, and appointed a baron of the exchequer in the place of Sir Henry Gould the younger.
He was seized with a fit of palsy at Maidstone during the Lent assizes in 1775, and shortly afterwards retired from the bench with a pension of £1,200 a year.
Having purchased the manor of Fladbury and other considerable estates in Worcestershire he retired to Perrott House, Pershore, where he died on 28 Jan. 1780, in the seventieth year of his age. A monument was erected to his memory in the parish church at Laleham, Middlesex, in pursuance of directions contained in his widow's will.
His widow Mary died on 7 March 1784, aged 82.

IMAGES 7 and 8 show Perrott House in Pershore, Worcs.

Biographical information from:-
*Stephen L and S Lee, eds. 1917. The Dictionary of National Biography from the Earliest Times to 1900. Volume XV Owens-Pockrich. Oxford University Press, Oxford. P 905.
* the website 'Perrotts of Yorkshire'.

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.
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: 38 x 32 inches inc. frame.
PROVENANCE:Private Collection.
Ref: 8755
This item has been sold



 
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